★ 8 / 10
_**Rip-roaring 50’s Western shot in the heart of
Wuchak
_**Rip-roaring 50’s Western shot in the heart of Oregon with Kirk Douglas**_ A frontiersman who functions in the region of the Bozeman Trail & Oregon Trail…
_**Rip-roaring 50’s Western shot in the heart of Oregon with Kirk Douglas**_
A frontiersman who functions in the region of the Bozeman Trail & Oregon Trail (Kirk Douglas) assists a wagon train and tries to keep the peace between a tribe of Lakota Sioux living in the area and the new Americans, including a fort of soldiers nearby.
"The Indian Fighter" (1955) is similar to "The Last Frontier" (aka "Savage Wilderness"), released earlier the same month of December. They’re both Fort & Indians Westerns taking place in the Northwest with Red Cloud & his braves as the antagonists. The assault on the fort in the movie recalls Red Cloud’s real-life siege of Fort Phil Kearney in the shadow of the Big Horn Mountains in the Wyoming Territory where attacks were launched against troops & settlers for two years from 1866-1868.
One great thing about this Western is the character played by Kirk Douglas, Johnny Hawks. He’s a robust individualist who refuses moronic sectarianism in the wilderness conflict. He sees beyond mere skin color & culture and focuses on character and mutual benefit while driven by self-interest, albeit not in an ignoble way. He’s brave & confident, yes, but he’s neither a blind hero nor a sullen antihero out for revenge; he’s a nonconformist loner brimming with joie de vivre that doesn’t care if people hate him (unjustly) and absolutely refuses social manipulations.
The exciting Oglala attack on the Fort is one of the highlights. It reveals the most practical way to assault a stronghold made of lumber in the wilds. Regrettably, the key Native characters are played by Caucasians, but there weren’t many quality actors of Amer-Indian descent back then. Thankfully, the peripheral Natives appear to be real Amer-Indians. Basically, just pretend that Red Cloud, Grey Wolf and Onahti look more Amer-Indian than they do. Problem solved.
This was the first film produced by Kirk and he allowed his ex-wife, Diana Douglas, to play the settler woman from the wagon train who clearly wants him for a husband (obviously an inside joke). This shows that Kirk and Diana had a good relationship despite their divorce in 1951. Meanwhile tall Italian Elsa Martinelli plays the native girl that Johnny aggressively woos, the aforementioned Onahti. Make no mistake, Onahti was attracted to Johnny and he knew it; thus he goes after what he wants.
The film runs 1 hour, 28 minutes, and was shot in the area of Bend, Oregon, including Smith Rock State Park and also the Deschutes National Forest.
GRADE: A-
★ 7 / 10
De Toth's Best Western
FilmFlaneur
At the heart of De Toth's oeuvre lies an interesting contradiction. He has an abiding interest in suspense, action, and the wellspring of violent events (a…
At the heart of De Toth's oeuvre lies an interesting contradiction. He has an abiding interest in suspense, action, and the wellspring of violent events (a fact underlined by the number of thrillers, frontier yarns and dramas he helmed during his career), but, as a director, characteristically disassociates himself from their process. This 'distancing' effect has been noted by a number of viewers, creating some critical debate about De Toth's engagement with his material. In my view his detachment is not to be confused with aloofness - an interesting comparison can be made with Stanley Kubrick's alleged 'coldness' - but is rather De Toth's way of resolving what really 'matters'. It is this intelligence, revealing itself sharply in his best films, that makes him such a worthwhile study. Along with De Toth's assured debut 'Ramrod' (1947) and the austere 'Day of the Outlaw' (1959), 'The Indian Fighter' is probably the finest of his Western films, revealing a characteristic response to the demands of the genre. In 'Ramrod' the moral questing springs from a noirish plot that is unsettled and full of tension. In 'Day of the Outlaw' issues are resolved more formally, played out against the stark landscape of Winter. In 'The Indian Fighter', De Toth's concerns manifest themselves in his most lyrical and sensuous work. He thereby creates a film which, in emphasis, is in direct contrast to most other 50's Westerns.This is ostensibly a tale of a famous frontiersman Johnny Hawks (played with usual lusty gusto by Kirk Douglas), back from the wars. Ultimately he has to redeem his reputation, discovering balance within the indigenous people he has previously warred against. Gold has been discovered on Indian land, and the bad guys (a marvellous performance by Walter Matthau, ably supported by Lon Chaney, Jnr) are out to kill and cheat to secure the riches. This, and the related fear of a tribal uprising, provide the main action point of the film. As the Indian fighter of the title, ironically the first thing we notice about Hawks is his reticence. In fact he hardly fights at all - only when he is obliged, or when called upon to at the climax of the film. For him, combat is not a prerequisite, although he is not slow to react when needs be. A comparison with the bitterness of Ethan Edwards, say, in Ford's 'The Searchers' is revealing. Edwards loathes the Commanches, with a bitterness entirely absence from De Toth's hero. As Hawks' opponents observe, he is more of an Indian lover than fighter. And, of course, in the most obvious way, they are right. Almost more important to the hero than his professional reputation is his preoccupation with the Indian maid Onhati. His single-minded pursuit, and later dalliance, with her initiates the main crisis of the film, as he leaves the wagon train to be by her side, after taking it 'two days out of my way and half way up a mountain'.This is a film full of sensuality, placed in contrast to 'duty', the calling of action. We are constantly reminded of the cool pools, green foliage, closeness of the earth, just as much as of the teachery and turmoil of the frontier. Franz Waxman's score is lyrical and evocative, frequently idyllic. The glorious cinematography gives nature's perpetual garden a pantheistic gloss, sometimes intense, and always resplendent. Just as the main film captures these images, so in mimicry does Briggs, a supposed protégé of civil war photographer Matthew Brady, who frequently accompanies Hawks. He is eager to capture the grandeur around him. His camera is as significant to us as it is to Hawks, who makes a point of rescuing it at one point (during the battle at the fort). An important minor character, Briggs emphasises the appreciation of the sublime and beautiful that the film invites. A couple of times De Toth pauses the action (once at the fort and then at the wagon train), to pan his camera for long seconds along sets and people, recording their place in the Oregon landscape. Like Briggs he wants to admire, and record.A circular film, 'The Indian Fighter' begins with Hawks gazing at Onhati bathing naked in a pool. It ends with him joining her in the water, forming a happy couple. The whole world of action is thus enclosed by their bonding, their sensual preoccupation usurping the violent demands of Indian-white conflict. The scenes between the two lovers caused a murmur at the time. Considered 'risque' for the conservative 50's Western, De Toth simply inserted them, and their sexual self-absorption, as entirely fitting his plan of things. What is more eyebrow-raising today is how he allowed the encounters between two lovers to backstage the expected intrigues of masculine action, and actually assume greater significance, reversing regular audience expectations. This stress, an essentially feminine one. is completely uncharacteristic of the Western at this time. Add to that a sympathetic view of Indians and nature conservation (the Indian Chief's environmental concerns are a main reason for his refusing to exploit the land with mining) and you have an excellent film - a career highlight of this greatly underrated director.
★ 7 / 10
A simple-minded Western with touches of philosophy and not much drive...
Nazi_Fighter_David
Filmed in Oregon, Andre De Toth's film is a frontier adventure tale of the Great Sioux Nation whose heritage and culture run through the silver screen like a…
Filmed in Oregon, Andre De Toth's film is a frontier adventure tale of the Great Sioux Nation whose heritage and culture run through the silver screen like a strong steady stream... The motion picture touches up new ground by giving Indians a little sex appeal... Douglas, as a vigorous frontier scout, tries to attract the Indian maiden Onahti, played by the attractive brunette Elsa Martinelli... The Italian actress is seen bathing in the fresh waters of a river and later captured nude in a transparent voluminous stream..."The Indian Fighter" concerns the efforts of a wagon train heading for Oregon in 1870... The train stops at a small frontier fort when the Sioux forbid them to pass through their territory... A seasoned scout and Indian expert, Johnny Hawks (Douglas), is assigned by the army to aid them...Hawks rapidly goes to the camp of the dignified Chief Red Cloud (Eduard Franz) who explains that the trouble was started by white whiskey traders, trying to rob the Indians of their gold...Hawks promises to settle th situation and the Chief agrees to appear at the fort to sign a peace treaty... However, his aggressive brother Grey Wolf (Harry Landers) repudiates peace talk because he despises all white men as dishonorable...Douglas' portrait of Hawks is suitably vigorous and possibly comes close to depicting the actual character of such a man - Hawks is a jealous self-confident man who considers the West as his milieu... He declines to open up the West for civilization... He considers the West as 'a beautiful woman' and refuses to share her with anybody... He is a brave warrior who fights Sioux-style, and a shooter who never miss a snake... He respects the Indians as vanquished valiant enemies who deserve to be treated as human beings...
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