Apache War Smoke

In its black-and-white photography, unimaginative wardrobe, and perfunctory sets, it resembles one of the many Western series that were to dominate the television screen for the next twenty years. The performances and direction follow suit.

The always reliable Gilbert Roland -- reliable if you don't ask too much of him -- is Peso Herrera, a likable and roguish thief who rides into the adobe compound and says the Apache are after him. Soon they will send the war signals and will slaughter everyone in the camp, including the two lovely ladies, one earnest and pretty brunette with the pointiest breasts on any 1950s movie screen, and the other a teen-aged blond flirt.

Roland offers his son, Robert Horton, who is the sheriff, a deal. If Horton and the other men of the compound hand over the chest full of payroll money from Wells Fargo, he, Roland, will ride off hurriedly with it and the Apaches will follow him and not attack the fort. The Apaches will follow Roland because they will be able to recognize him at a distance. They should. He's in an obscene black Mexican outfit studded with silver studs and medallions, jacket, trousers, and boots alike, a kind of twisted Cisco Kid ensemble that can easily be recognized from a distance. It could probably be recognized from the moon.

Father and son have a slight disagreement over the ethical issues involved in the deal. Both are packing two guns. They have a stand off and finally draw. Horton manages to shoot the guns out of both of Roland's hands without drawing any blood. Not even a wince of pain.

But why go on? Robert Horton can't act and he looks like a cross between Dan Duryea and George Segal, and a heavy one to bear. Gilbert Roland is good at proud, smiling, sarcastic, self confidence but nobody bothered to rein him in and his snoot is constantly up in the air. "Aye, Chihuahua!", he exclaims at one point, and he is so right. The two babes are okay, but Barbara Ruick looks like she belongs in a Beach Blanket movie, mostly because of the way make up and wardrobe have groomed her. I believe I saw her perform in "Boyfriend" on a Los Angeles stage years later. Patricia Tiernan is the attractive and classy brunette whose bosom precedes her by a quarter of a mile.

Do yourself a favor and skip it unless you've prepared yourself chemically for the experience.

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.

Apache war smoke is a 1952 western. It follows a stagecoach group who hide in a small town from warring Apaches. Sounds familiar, doesn't it?

Despite the unoriginal plot, story and even cast of characters, Apache war smoke is beyond a normal b-movie. While the film has it's fair share of action, it focuses more on characters. While the characters aren't particularly deep, coming off as caricatures of those from 'Stagecoach', they have entertaining qualities, and arcs (brief as they may be).

This would be a normal western b-movie, but the actors like Gilbert Roland have great dedication to their roles, and other redeeming qualities such as the beautiful frontier cinematography save it. For any fan of classic westerns, this is a worthy way to spend 67 minutes.

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.