Rio Grande (1950)

Argosy Pictures, Republic Pictures
Director: John Ford
Starring: John Wayne, Maureen O’Hara

A testament to the efficiency and finical success of John Ford as a filmmaker Rio Grande came into being as the so called third installment of his “Calvary Trilogy.” A black and white western military feature, it continued in similar qualities of his previous box office achievements starring John Wayne despite not having any character or plot connections. However, the film was not a project of the heart for Ford who only came to make the picture as a favor in order to produce the next feature he was eager to develop. For many fans of his prior work the film was another rousing western adventure that glorified military service, but for director John Ford it was simply a formality, a quick project in the way to get to his next endeavor.

 

Rio Grande is a western about a cavalry officer faced with a controversial military action against Apaches while juggling personal matters that find him at his post. Manning the US-Mexico border former Civil War Union soldier and current cavalry officer Kirby Yorke (John Wayne) is surprised to find his teenage son Jefferson (Claude Jarman Jr.), whom he had not seen in 15 years, newly assigned to his regiment. Shortly thereafter arrives Yorke’s estranged wife Kathleen (Maureen O’Hara), whom he had a falling out with due to her Southern roots during the war, looking to buy out the enlistment of their underaged son. York refuses, wishing to not show favoritism in his regiment, so Kathleen chooses to stay with fellow calvary family members and in time reignites her romance with her husband. Yorke receives orders to squash an Apache threat laying beyond the Mexican border, a controversial in failing to recognize sovereignty of the bordering nation. Adding further fuel to the mission, the Apaches attack the soldiers’ families, taking the children leading to a heated pursuit of the native warriors. In an all-out attack the calvary vanquish the enemy and reunite the families as the Yorke’s, too, form a new bond.

 

The picture is a fine example of what many devotees of western look for in a solid example of the genre. Filmed in the picturesque location of Moab, Utah, despite its lack of genuine topography of western Texas, serves up the classic backdrop of archetypal western. John Wayne and Maureen O’Hara paired for the first time generate a surprising chemistry that would serve them in future projects together. Ford’s salute to US servicemen, the sense of masculine duty, and the romantism of the west are all delivered with high production value as the filmmaker had nearly perfected this movie style. What is jarring if the lack of Technicolor which falls short of fully displaying the vivid vistas of the bright desert landscape and period attire. Appearing to pad out its runtime with the addition of musical accompaniment with several tunes performed by the well-known western crooners, Sons of the Pioneers, veterans of a number of movie appearances. The picture is a bit off, a bit formulaic if you will, for those looking for more from John Ford, but would go largely unnoticed by casual viewers enjoying his third such cavalry motion picture in as many years.

 

Rio Grande owe its existence on the John Ford’s prior success in westerns, but more so on his desire to produce The Quiet Man. The idea of Ford making a romantic comedy-drama was not something independent studio Republic Pictures had faith in despite all of Ford’s prior cinematic achievements. Republic agreed to the future production of The Quiet Man with the insurance of Ford directing another sure-fire success in an additional western to cover the possible lack of draw in the future project. Ford was not too pleased with the proposal, but agreed moving forward with what would become Rio Grande.

 

Following the success of Fort Apache (1948) and She Wore a Yellow Ribbon (1949) Ford moved forward with yet another cavalry centered picture, which altogether formed what would be referred to as Ford’s Cavalry Trilogy despite not having any actual connection in story even though Wayne played two different Kirby’s, “York” in Fort Apache and “Yorke” here in Rio Grande. The screenplay was inspired by a Saturday Evening Post short story as Ford and team rocketed toward production. Always professionally practical Ford followed through the principal photography with a clear plan from the beginning. Ford was straight to the point with filming, utilizing a pool of actors he was comfortable with, locations he had filmed before, and a plot not too far off from many may have already seen in other forms. In only 32 days Rio Grande wrapped even though filmed on location in blistering heat. Ford was all business, not willing to entertain executives who visited his set as he plowed through production wishing to get it done swiftly so he could work on The Quiet Man. The lack of color film would help to cut costs in saving for his next picture which did not seem to bother his bosses at Republic.

 

John Wayne serves in a very John Wayne-like performance, a stern leader with a bit of heart that cracks through as the plot unfolds. For the first time Maureen O’Hara is his co-star and love interest who helps guide Wayne as a romantic performer, making us believe this gruff example of a masculine soldier can be swayed by his heart. The chemistry proved so strong that Ford would cast them both again in The Quiet Man, the second of what turned out to be five pairings of the two performers. Their success together on screen would prove to sway followers of their work to believe the two shared an off-screen relationship, which was never the case.

 

Aside from the romantic side story was that of three new young soldiers in the regiment played by Claude Jarman Jr. Ben Johnson, and Harry Carey Jr. Jarman, best remembered for his performance in the coming-of-age picture The Yearling (1946), here portrays Wayne’s son Jefferson. With his classic boyish looks he is the innocent of the feature, but it is surprising to see he was only 16 years-old at time of production as her was maturing beyond his child actor days. Johnson and Carey were yet again two regulars in the Ford troop of players. Johnson, a stuntman by trade, sees his talents on displays with a couple of scenes featuring his trick horse riding. He is given the side plot as Travis Tyree, a soldier on the run from the law that proves to be heroic when needed. Harry Carey Jr., son of the late Hollywood actor of the same name and also favorite of Ford’s, completes the trio of friends is somewhat more the straight man of the three which proves to be a bit of a forgettable character as support for his friends. Former Oscar award winner and Ford favorite Victor McLaglen appears as a bit of comic relief as Wayne’s right-hand man Quincannon, who helps protect the boys when Wayne attempts to fight off any favoritism towards his son.

 

Music plays a particular role in the picture with the appearance of many tunes that accompany the story. This was an usual practice of John Ford, but the appearance of the western singing group Son of the Pioneers were an added attraction to the movie for the group had been appearing in pictures dating back 15 years in Hollywood with their soft, soothing country flavor akin to Roy Rogers and Gene Autry. With the acceptation of one romantic scene between Wayne and O’Hara you could argue that taking the music out would not harm the picture, but the tunes do provide a reprieve from a movie that coasts at single pace most of the film’s relatively short running time.

 

Upon release Rio Grande was generally well liked as it followed through with expectations, but did little more than stayed the course. Critics picked up on the similarities its plot had with The Lives of the Bangel Lancer (1935) with the story of a regiment leader surprised by arrival of his son to his group of soldiers. Generating nearly a million dollars in profit for Republic was the positive the studio was looking for, but little did they know that The Quiet Man turned out to be a far greater critical and finical success, making the deal that led to Rio Grande unnecessary. In the end Ford would bring together Wayne and O’Hara that proved to be the greatest pairing they two would experience inn their careers.

 

For fans of classic western Rio Grande was a model of the genre enjoyed by many, but for those not particularly fans of category the film is a bit dull and colors by the numbers, despite the lack of color. It continues as a Ford-Wayne classic, but with context it really was not something special for its time and is treasured more because it was a part of their careers and not because it was monumental feature. As mentioned, it was the futures of director and stars that genuinely makes this film stand out over the content itself which does not sound like much, but it was some of the greatest players in the industry’s history near the top of their respective careers.