Flechas de fuego

Ernest Haycox wrote the story that became John Wayne's breakout western, "Stagecoach". Another one of Haycox's stories was filmed as "Apache War Smoke"...and the two films are very, very similar.

A group of travelers in the old west come to a stagecoach relay station. Once there, however, they cannot leave as the local Apache are in a rage...as apparently SOMEONE killed on of their people. Much of the film consists of the folks preparing for the worst...and the stage operator refuses to give in to the Apache demands.

This is an okay film...neither bad nor good. The acting is decent and it's always nice to see Gilbert Roland in a movie because his acting seems so natural and effortless. But the story, well it seems structurally too much like "Stagecoach" without the wonderful payoffs in the script.

An outlaw murders several Apaches and flees to a stagecoach way station with the tribe in hot pursuit. A stagecoach and its passengers have just pulled into the station, as has the stationmaster's father, a former bandit named Peso, and they all find themselves besieged by the Apaches, who want them to turn over the killer to them or they'll take the station and kill everybody. The problem is that the people in the station aren't sure just who among therm is the actual killer.

With a title like Apache War Smoke you would expect plenty of tense conflict between the Stagecoach inhabitants and the Apaches, however this MGM western is preoccupied with Gilbert Roland's desire to steal the gold shipment and the love triangle between two ladies and Robert Horton - it's a fairly routine affair and can be quite humdrum with plenty of talk. However, Gilbert Roland, Robert Horton, Glenda Farrell and the two beauties as well as the Apache attack 43 minutes into the film keep it at least a little watchable.

A Wells Fargo stage pulls into a way station just as they see Apache war smoke in the hills. It seems a robber and murderer named Pike (Myron Healey) has just killed some Apache braves and stolen some of the tribe's jewelry.

In the meantime Herrera (Robert Horton) the stationmaster has run into his father, the bandit named Peso (Gilbert Roland) who seeks to rob the Wells Fargo stage of all it's money. Herrera agrees to let Peso stay at the station if he agrees to give up his guns and stay out of trouble, which Peso reluctantly agrees to.

Next thing ya know, Pike hauls ass into the way station with the Apaches close behind and they lay the place under siege. They (the Apaches) know he was the one who did it, even though all the stage passengers think it's Peso who was behind the murders. They want to leave him outside the walls and take his own chances, but Herrera has the final say and he refuses to turn his father out.

So they all take a stand and fight, including a young, teenaged Bobby Blake as an Indian who helps Herrera out at the station. Funny, but Blake's voice sounds like it was dubbed or something because he don't sound at all like BARETTA. Not even close.

There are some half way decent battle scenes but in the end, Peso catches on to what's happened and turns Pike out at gunpoint to the Apaches while the others aren't looking. The indians get their man and leave the rest of them in peace.

It's a decent little MGM oater that doesn't dwell on for too long since it only has a 67 minute playing time. Short by 'A' western standards, it's still worth a look, imo.

6 out of 10

A interesting western, more interesting than the criticism (ie: B western, formulaic) it gets.

Based on a story by Ernest Haycox, who wrote "Stage to Lordsburg" on which John Ford's 1939 Stagecoach was based, this film shares many of that films themes and locales (not Monument Valley here but still set in the south west).

Much like "Stagecoach" the film is about how various people handle themselves when faced with danger. Unfortunately here the writing spends too much time on the subplots - the love triangle between the station master (Robert Horton) his old flame and his new love, and the Mexican bandits' (Gilbert Roland) attempts to steel the gold shipment , at the expense of tension from how various different "types" of people act when holed up awaiting the inevitable Indian attack.

In "Stagecoach" the various types were the outlaw, the prostitute, the banker, the drunken doctor, the gambler, the upper class lady etc all "typifying" the various strata in society. Here we have a Mexican bandit, a station master trying to downplay his background, a gambling woman, a Cavalry Officer and his daughter, a woman with a checkered past, 4 cow hands ( some loyal some not ) , a Mexican Indian half breed, a employer and a Mexican cook.

In "Stagecoach" the action is as much the interaction between the people on the coach and at the stage station as is the Indian attacks, especially in the lengthy middle sequence set at a stage station. (run as in this film by Mexicans). Dudley Nicholls who wrote the screenplay for Ford (with Ford's uncredited assistance) stressed the class antagonisms, conflict and prejudices. In Ford's film ethnicity is irrelevant and class is the determinator of social standing. Here, in "Apache War Smoke", class is played down and ethnicity is played up ( but for no purpose) and the "types" don't represent class positions or even their ethnicity but rather background on which to hang the plot. Unfortunately if you take all the meaty stuff that Nicholls put into the "Stagecoach" script you are left with just another western. And we have that here, plus a lot of the scripting that is western melodrama ( the love triangle, the father vs son scenario, who do the Indian's want ?). But still some of the original themes shine through.

The writer has thrown in some mystery as well. The Indians, although not fleshed out, are genuinely aggrieved at someone in the stage station who has murdered some of their number.

What saves the day here are some nice touches; for instance for a film of the time that has a number of ethnic types as leads and supports (at least 4 people at the station are Mexican or part Mexican, and one is half Indian) race and race issues never arise. Maybe the plot could have made something of this but as it is it is neat to see that people forced together to defend themselves not thinking of it in terms of race issues. Similarly, although all underdeveloped, there are romantic interludes between Roland's Mexican bandit and 2 Caucasian women, the half Mexican station master and the officer's daughter, as well as an undeclared love between the half breed boy and the same officer's daughter, and no one thinks this as odd or worthy of a racial slur. It's refreshing to see that the American southwest at that time portrayed, as I suspect it was, a great big melting pot.

The cast are fine- Gilbert Roland's self assured, natural flamboyance is fun to watch and easy on the ear ( here he plays the Latin lover with six guns), Robert Horton is rugged and I am surprised he didn't have more major roles before he broke through with the lead on TVs "Wagon Train" ( although he doesn't look like a half Mexican), Harry Morgan is excellent ( the medium shot of him being challenged by Roland's outlaw whilst guarding the gold is great) but his scenes are very few, Robert "Bobby" Blake is the half breed and captures the "lost youth" which was popular in the 50s, while in bits we have all the usual western faces that always lend a feeling of authenticity; Hank Worden ( Searchers, Three Godfathers Sergeant Rutledge, Red River), Gene Lockhart, Myron Healey ( Cattle Queen of Montana, Rio Bravo), Douglas Dumbrille, Argentina Brunetti, Glenda Farrell (very convincing as a frontier woman), and Emmett Lynn. Patricia Tiernan and Barbara Ruick are decorative as western women always are.

The director Harold F Kress only had a few stabs at directing, being more well known as an editor, before and after this. He won Academy Awards for "Towering Inferno", "How the West was Won". However you can tell he is an editor, as the film pumps along at a brisk pace and some of the action sequences, particularly the small combat scenes rather than the big action scenes are well handled.

At only just under 70 minutes people would assume this to be a programmer. The action sequences ( although not convincingly filmed) are large scale. I don't think they have been imported from a different film....although this is a remake of MGMs 1942 "Apache Trail" so who knows, but the footage seems to match. If they are not imported then I think that maybe this was planned as a "A feature" which was cut down to this length.

There is also a curious mix of photography - there are some nice low angle shots and atmosphere shots, then shots which are static and seem to come from a different film.

Still, when you write these long reviews people think you must love the film. I don't but I do think that it has a lot going for it, within its limitations , and more importantly it was fun ( and painless) to watch. And because it was underrated it was even more enjoyable.

Most of the handful of review here compare "Apache War Smoke" to "Stagecoach", the Wayne/Ford classic, but I saw the latter around 40 years ago so cannot remember the fine details as much as other reviewers.

I just watched it, not expecting much and was very pleasantly surprised. The always charming and likeable Gilbert Roland is Peso, a drifter who likes money and the ladies. He kicks the movie off with his arrival at a station managed by his son, played by "Wagon Train" star, Robert Horton, with a view to helping himself to some loot. Apaches attack the station in revenge for someone in the station having killed some of their tribe. I didn't really know who that was until later in the film and I won't reveal it here, but suffice to say it leads to some pretty convincing action, with well staged fights. There is a very large army of Apaches on the warpath here, more than I would normally expect in a small B picture and it adds to the thrills. We do not see them close up so we don't have the embarrassment of seeing white actors playing Indians which was so prevalent in the 1950's so they look more authentic.

A really well acted little western with a great cast of supports. Glenda Farrell, famous for early gangster movies, Gene Lockhart, always a steadfast character, here the boss of the station master, the lovely Barbara Ruick, most famous for "Carousel" a few years after, the great character actor Harry Morgan who ended up in "MASH" and regular baddie, Myron Healy, who seemed to be in every western made at that time.

Don't take it too seriously and you may enjoy it as much as I did.