On the eve of retirement, Captain Nathan Brittles takes out a last patrol to stop an impending massive Indian attack. Encumbered by women who must be evacuated, Brittles finds his mission imperiled.
John Wayne Joanne Dru John Agar Ben Johnson Harry Carey, Jr. Victor McLaglen Mildred Natwick George O’Brien Arthur Shields Michael Dugan Chief John Big Tree Fred Graham George Sky Eagle Tom Tyler Noble Johnson Paul Fix Francis Ford Cliff Lyons Frank McGrath Irving Pichel William Steele Jack Tornek Dan White Harry Woods Peter Ortiz Rudy Bowman Lee Bradley Ray Hyke Billy Jones Show All…
Everett Creach John Hudkins Fred Kennedy Frank McGrath Jack N. Young Billy Jones Cliff Lyons Bob Rose Michael Dugan Chuck Hayward Gil Perkins Terry Wilson Fred Graham Bryan 'Slim' Hightower John Epper Norm Taylor Roydon Clark Don Nagel
Она носила желтую ленту, Она носила жёлтую ленту, 황색 리본을 한 여자, De Heldhaftige Stormloop, La Charge héroïque, I cavalieri del Nord Ovest, Keltainen nauha, I cavalieri del Nord-Ovest, Der Teufelshauptmann, La legión invencible, Kavaleriets gule bånd, Os Dominadores, Sárga szalagot viselt, Legião Invencível, La legió invencible, Тя носеше жълта панделка, Sarı Eşarplı Kız, 黄巾骑兵队, Nosiła żółtą wstążkę, Měla žlutou stužku, Ηρωική επέλαση, Larm över prärien
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There’s an Irish character who’s constantly drunk and late in the movie seven guys attack him in an bar and he reveals his mutant power is bar fighting and (while drunk) he kicks all their asses without breaking a sweat
Anyway John Wayne is really good in this movie but I feel like it should’ve been about the Irish drunken master
Pretty damn cunning propaganda for the U.S. Cavalry. This has all the things I dislike about John Ford: his phlegmatic and shoehorned character-actors who annoy the more they raise themselves into broad hysterics (the Irish Victor McLaglen is an exception, so dear to Ford's heart is this proud ethnic bloke), his infantilized-girl complex (casting the passive and chittering Eastern canary as Joanne Dru, fresh off her roundhouse performance as a Hawksian woman in Red River, is a cruel joke), and his D.W. Griffithian impulse to milk the most out of a landscape image, refusing to acknowledge what that beauty means, politically. We're not in the ambiguous territory of Pilgrimage, The Searchers, They Were Expendable, Gideon of Scotland Yard, The Long…
97/100
"The army is always the same. The sun and the moon change, but the army knows no seasons.
Structurally and formally overwhelming. You've never seen such colors; so impassioned and rich the frame begins to drown alongside the alien structures of Monument Valley. John Ford's Technicolor Calvary picture is a three-strip photographic miracle - a masterwork in that regard - in which each eloquent hue reflects the setting sunset (or sunrise) of its characters. As a framework for John Wayne's (and Ford's) abundant talent, She Wore a Yellow Ribbon succeeds, but viewed as an ode to a life lived and a community built, cracks of thunder greeting death and a shadow rising from the grave being one of many…
Initially this is disappointing following Fort Apache, lacking its Brechtian approach and near rejection of American mythology. But this is something else - almost the complete opposite. Big themes are replaced with minuscule, virtually nothing happens in this movie - though there are still grace notes galore: Wayne speaking to his wife's grave are among the best things Ford ever filmed. But oddly enough this seems the closest Ford ever came to full Wagnerian spectacle - all the more fascinating because of its tiny trajectory. But while this lacks the complexity of most of the post-'48 films, just because Ford isn't engaging in de-mythologizing doesn't necessarily mean he's still mythologizing a la the 1939 films. This almost seems to be…
if you need to understand how film language works at all, what it means to actually consider the framing as being important rather than simply focus on the contents of said frame, watch this film. seriously.
what is disguised as a somewhat lethargic story more interested in the minutia of military exercise is actually an ironclad and very clear example of how john ford tells a story. the cavalry march that comprises the first section of the film heads in two directions: left to the frame, and right to the frame. every time they're oriented left, they're headed away from their home base and towards a dangerous encounter, every time they go to the right, they meet a cavalry member…
John Ford - the hearty plain white bread of directors - adds some continental spice into the mix for his surprisingly abstract “She Wore a Yellow Ribbon.”
The second entry in the informal ‘cavalry trilogy,’ “Ribbon” is a somewhat charmingly unfocused entry from Ford. Rather than building to a singular seismic battle, the film unfolds in an episodic manner. There are minor challenges from frontier living throughout... but the real climax is the Eastman Technicolor sunset in the movie’s closing moments.
Ford - charmer that he was - apparently brought star John Wayne a cake on the wrap day of “Ribbon’s” filming, reading “You’re an actor now;” a sarcastic last jab at how he never planned to cast Wayne in…
Re-watched this film because the first time I saw it, I didn't realize it was actually the second film in Ford's Cavalry Trilogy, and I wanted to give it another chance after seeing many glowing reviews by my trusted Letterboxd friends for this as one of Ford's supposedly more underrated and under-appreciated westerns.
I ... am not sure I agree with that.
Between John Wayne's fine performance as an aging military captain (with Wayne just having turned forty) and Winton C. Hoch's dazzling Oscar-winning Technicolor cinematography, there is much to appreciate this film for, but the story did not win me over at all this time, especially after seeing the more refined and nuanced Fort Apache immediately before. She Wore…
mission failure. the elegy is so strong that this almost becomes a defeatist western, drifting off into the colorful clouds, unrooted -- "i wasn't 'army enough' to stay the winter", the tenuous reconciliation between union and confederate soldiers, now welded into the unit of the cavalry, indicate a nation split down the middle of the bicameral mind, and thus captain brittles isn't actually allowed to retire, his lieutenants don't succeed him, gerontocracy is seen as the only valid sustenance of american virtue, meanwhile the young braves are seen as an uncertain future of unresolved racial tensions, yet this isn't a 'the old ways are the best ways' movie, but a desperate plea for there to be anything other than a…
Some really great stuff about masculinity on the frontier. Not sure if this is because of the admittedly brief and diegetic racism, but it feels like minor Ford to me. There's not as much character nuance as in something like The Searchers or The Man Who Shot Liberty Valance, and there's not as much pastoral myth/poetry as in something like Wagon Master or even My Darling Clementine, but I'm only highlighting the (minor) negatives because I made the rookie mistake of looking at some of my friends' (positive) reviews on here before writing this. There's certainly a lot of Ford here from the physical rocks of Monument Valley to the human rocks of John Wayne and Ben Johnson, and it was generally a pleasure to watch.
In between the masterful Fort Apache and the adorably entertaining Rio Grande, She Wore a Yellow Ribbon is the often better well regarded of the cavalry trilogy directed by master John Ford that voracious nitpicking pick-aparters from deconstructionist modernity have their feast dismantling all the right-wing supremacy heroism branded in Ford’s ideologies with blood in their eyes, dismissing completely the meaning, intent or beauty to how he conveys his tale that stands far from a glorification of genocide, and rather a more introspective reflection over military legacy and the remembrance of duty stained in a pool of losses and regrets.
Though the movie overall might easily feel distracting by its very thin straightforward premise with not much to show other…
