Only the Valiant

Capt. Richard Lance is a wronged man, he's being held responsible for the death of a much loved Lieutenant. When the chance arises for him to take a small band of men to the vanquished Fort Invincible, Lance readily takes up the challenge. Picking the men who despise him the most, and the ones he feels have major character flaws, Lance and the handful of soldiers must hold the fort from Apache attack until reinforcements arrive. Running out of water and at war with each other, it's becoming increasingly likely that this is a suicide mission from which none of them may return.

Some people say this is one of Gregory Peck's lesser efforts, that it be low on production values and stilted in its execution. Not so say I, in fact this to me is a far more engaging picture than the much revered Rio Bravo eight years later. Oh for sure the Howard Hawks film is far technically superior, but I'd argue that for cast efforts and sheer entertainment value Only The Valiant wins out in the duel every time. Gregory Peck, Ward Bond, Gig Young, Lon Chaney Jr, Neville Brand & Warner Anderson each contribute greatly to make this a dramatic and involving picture. It simmers along as a highly charged character piece as we have a group of men deeply in mistrust of each other, yet interestingly they are bound by a mutual dislike of their Captain. One special sequence sees Lance (Peck at his straight laced best) assassinate each soldier's character; one is a bully, another a deserter, a drunk, a black heart, a coward and on he goes, and it's here where the film really kicks on to be a crackerjack character driven piece. The violence is pretty strong as well, director Gordon Douglas is not shy to put blood on the bones of the writing, and I dare you not to feel a rush of adrenaline as the Apache's start to screech prior to their wave of attacks.

From watching these intriguing characters in a wonderfully tight situation, to the blood pumping Gatling Gun finale, this picture scores high on many entertaining levels. 8/10

This film, released in 1951, has the usual elements typical of the westerns released during the 50's; the cavalry needing to protect the territory from a murderous band of Indians, an officer determined to see that task through, and the men with him with various character flaws that he has to merge together into a cohesive unit. This small band must hold on to a fort located close to the Indian village until reinforcements arrive. The Indians know, all to well, that the small band is undermanned, and could be wiped out before the help comes. One major difference for this film, "Only the Valiant", is that it attempts to play out the usual storyline, but at the same time, deliver the message that duty is a paramount concern to be shared by all, even if they don't accept that charge.

Gregory Peck embodies the tight-lipped captain of the troop that has to prevent the Indians from breaking out into the territory. The troopers that he takes with him to the small outpost are the dregs of the troop at the fort; they, in turn, have gripes or weaknesses that cause them to wonder if the captain hasn't taken them out because of their general lack of devotion to a cause. Eventually, the captain and the small band confront the hostiles, and at the same time, each confronts his own flaw. The cast includes western stalwarts such as Ward Bond, Gig Young, Neville Brand, Lon Chaney, Jr., and Warner Anderson.

A sleeper of a film, and a good solid western for fans of this genre.

...I saw this movie when it first came out in France, in my hometown, 54 years ago, I was nine, and today I still remember each black and white frame, especially the black ones, because it was so tense, scary, those sneaking attacks through that dark pass in the mountain, the two soldiers, prisoners forced to fight each other by their captors, the last battle with the uncovering of the wagon with the Gatling in it firing away, the last fight between Peck and the chief, and the Happy End which let me take back my breath. I haven't seen it since then, and I don't know if it would be a good idea to see it again today, it was such a fabulous moment for the kid I was.

Made a couple of years after Ford's 'Fort Apache' (1948), in some ways Douglas' violent film is reminiscent of that earlier work. Gregory Peck's straight-backed Captain Lance, the unpopular stickler for honour and adherent to all the fine print of duty, recalls Ford's military martinet Lieutenant Colonel Thursday (Fonda). There's a significant difference of course: Lance has a quiet competence throughout (and grudging respect of the ranks) conspicuously absent in Thursday's command. And whereas Thursday's actions lead to disaster, Lance pulls off a successful mission. Corporal Gilchrist (Ward Bond, also in 'Apache'), grudgingly admits as much as he declines to shoot the Captain, maddened at the height of his personal whisky drought: Lance is "the only man who can get them through", faults and all. Like the narrow pass through which the Apaches must move to attack the fort, Lance works within a narrow confine of responsibility and honour which can be dangerously constricting.

Interestingly, for a film ostensibly full of action, much significance attaches itself exactly to the opposite. For instance, it is Lance's unwillingness to draw upon others to clear his honour that estranges him from the post and his girlfriend Cathy after the death of Lieutenant Holloway. Most importantly, it is Lance's 'failure' to shoot the indian chief at the beginning, immediately after the fluke capture, which precipitates the death of so many others (a fault corrected at the end when Lance uses a knife in the last struggle). The film suggests that it necessary to bend the rules sometimes to achieve more effective results (whether or not this includes condoning murder in cold blood of a captive is another matter) - and positions various disrupting influences against the Captain as way of demonstration of the checks and balances this involves.

Chief of these is Corporal Gilchrist, who rather steals the film -particularly in the light of Peck's characteristic dullness as an actor. It is Gilchrist who is present at the start of events, he who rounds out the film. It is he too, who provokes a rare yielding, as far as military rules are concerned, by Lance: the Captain allows him a surreptitious swig of whisky just before the final attack. A boisterous, womanising drunkard, Bond plays a character to the hilt familiar from Ford's 'cavalry trilogy' and other films.

The forces contrasting Lance's discipline, control and code of honour rang neatly and conveniently against him at the fort. A deserter, a drunkard, a frustrated bully, an irrationally violent man - these and others, are the small command aptly chosen by Lance (being those the army can "spare mostly easily") to support his mission. In effect, such a select rabble represent the dregs of the army. But also, the weaknesses and darkness which all men contain, and naturally it is these which Lance has to face and master, as much as holding the pass against more physical incursion.

Reflecting this intrigue, the film is naturally rich in character acting. Besides Bond's loud bluffness, one also relishes Chaney's satanic Kebussyan (his character definitely *not* a Fordian derivative!), and the grouchy bitterness of Neville Brand's sergeant Murdock. Much of the film's pleasure lays in such incidentals, especially as the events at the pass, when examined logically, hardly make military sense (Why don't the indians just attack in one go? Why do they keep retreating back through the pass when they have broken out?)

Douglas, who went on to make the superb 'Rio Conchos' (1964) and the minor cult item 'Barquero'(1970) made too few Westerns, and does a good, tough job in direction. His pacing and grasp of tension helps to mask over the glaring differences in geology between the studio's 'pass' and the real thing shot on location. Co-scriptwriter Brown was to write Hawk's masterpiece El Dorado. In short: recommended, but for a more complex and convincing portrait of the cavalry under command see Ford.

1951's "Only the Valiant" was a Western produced by Cagney brothers James and William to follow their previous collaboration "Kiss Tomorrow Goodbye," reuniting costars Ward Bond and Barbara Payton with director Gordon Douglas (his best remembered film still lay ahead, 1954's science fiction classic "Them!"). As a vehicle for Gregory Peck it appears to have been forgotten in the wake of superior efforts like 'Captain Horatio Hornblower' and "The Gunfighter," but it's his unmistakable star quality that holds the picture together, ably supported by a mix of veterans like Lon Chaney and Jeff Corey with up and comers Neville Brand, Gig Young, and Michael Ansara. Set in New Mexico (some location shooting in Gallup) after the close of the Civil War, a narrow pass is guarded from attack by Fort Invincible (the film's working title), a name which proves false once its soldiers are slaughtered by feared Apache leader Tucsos (Ansara). Peck's Captain Richard Lance arrives with his men in time to capture Tucsos himself, returning with their prisoner to Fort Winston over objections from dependable scout Joe Harmony (Jeff Corey), who believes his death would have kept their enemies at bay. Lance's commanding officer demands that Tucsos be taken to a better defended fortress, but the small party returns with the mutilated corpse of its commanding officer, Lance blamed for sending his romantic rival on a suicide mission. The task now is to lead a party of disposable soldiers to Fort Invincible to hold off the Apaches until the cavalry arrives, choosing seven malcontents who hold him in the highest contempt, from a devil may care Irish drunk (Ward Bond), to a hulking, rage fueled Arab (Lon Chaney), a man who once tried to physically murder Lance. The temptation to do away with the captain is offset by the nature of their mission, and director Douglas maintains a steady pace of tension as things go awry and soldiers start to die. It's a revelation to see the often underrated Chaney displaying equal measures of brute strength and high intensity, nearly wrecking his cell before being reassigned to duty by his mortal enemy (the Cagneys would call upon him again for 1952's "A Lion is In the Streets"). Also outstanding is Jeff Corey's cavalry scout, whose sage advice about Apache ways goes unheeded to everyone's peril, and Michael Ansara as Tuscos, who received a small puppy as a gift on his first day of shooting which he duly named Valiant. Gregory Peck oddly considered this role a career low point, feeling Barbara Payton to be a much lesser actress than previous leading ladies, yet could not avoid the trap of falling into bed with her anyway.