Arrowhead

I was about ten (10) years old the first time I saw this film on television and after watching it a second time most recently it still brings back those deep rooted emotions of adventure, action, fear and gets my adrenalin pumping on over drive.

Yesterday's black and white western with the unsettling dust from the thunderous horses hooves between the calvary and the Indians is still a memory rooted deep in my head that is a lost art now overtaken by todays films oversaturated with CGI, digital sound, and lousy script writing.

Charlton Heston, Katy Jurado, Jack Palance, Brian Keith, and Milburn Stone, add enormous street cred to this classic western and I always enjoy these 1950's black and white westerns. I have now watched it at least three times and if I am lucky enough to live into the next decade I will most likely watch it again....and again....and again.

I give the film a stellar 7 out of 10 IMDb rating.

Considering the vast amount of Cavalry-vs.-Indians Westerns made during the genre's heyday, this emerges as a reasonably engaging entry – thanks to the pleasant Technicolor hues but, even more so, the scenery-chewing antics of its two stars (Charlton Heston and Jack Palance). I'd owned a copy of the bare-bones Paramount DVD for quite some time, but found the perfect opportunity to check it out now in tribute to Heston's recent passing.

He plays a maverick scout who, in the past, had spent some time with the Apaches; he knows them inside out and is, therefore, indispensable to the Cavalry because he can anticipate what their next move will be. The tribe has ostensibly capitulated and is heading towards the reservation but, when the current chief's son (Palance) arrives on the scene – having undertaken an education merely to fulfill a prophecy which would make him the savior of his people! – the attacks start anew, thus confirming Heston's skepticism of the whole deal (and which had practically ostracized him from his office). The film, whose title remains unexplained throughout, generally delivers in the action stakes (even if Heston and Palance's long-awaited showdown, the 'war' being resolved in single hand-to-hand combat between them, is a disappointingly hasty affair) – but is let down by a couple of obligatory romantic rivalries: Heston is torn between half-breed Katy Jurado, who's wasted, and Mary Sinclair, the widow of the Fort Commander who's also desired by his successor (Brian Keith).

Heston made a number of such minor genre fare (which, I have to admit, I had all but ignored all these many years) – including another Western penned by Charles Marquis Warren, PONY EXPRESS (1953) – before carving a niche for himself playing larger-than-life roles in a myriad big-budget spectaculars. Having mentioned the writer/director, I recently acquired another Western of his – the well-regarded and, reportedly, noir-tinged LITTLE BIG HORN (1951) which, naturally, revolves around Custer's infamous Last Stand.

Arrowhead, the mere mention of it in Western circles sometimes induces a sharp intake of breath, even a furrowed brow or two. Starring Charlton Heston and Jack Palance, directed by Charles Marquis Warren; who also adapts the screenplay from W.R. Burnett's novel, Adobe Walls, Arrowhead rewrites the Indian Wars and firmly paints the Apache as distrustful thugs.

Based in essence on real life Indian scout, Al Seiber, with Heston in the role but named as Ed Bannon here, story is set in Texas 1878 at the Fort Clark Cavalry post. Peace has been brokered and the good old Cavalry boys have arranged for the Apache, led by a newly educated Toriano (Palance), to be dog tagged and whipped off to some arid land in Florida. However, the pesky Toriano has been plotting a revolution and is ready to lead his people in an all out assault on whitey and to hell with the treaty. Only white dude who smells a rat is Bannon, who with some Indian blood coursing through his veins, hates the Redskins and will never trust them. But the Cavalry hate Bannon as well, because he is in the way, causing friction, a hindrance to their wonderful ideas for piece.

No surprises for guessing what happens next! If Warren and the big wigs at Paramount Pictures were aware of the racist overtones here in 1953? Is cause for debate. I tend to agree with the theory that puts this as a sort of anti-communist allegory, but of course that doesn't excuse the xenophobic narrative whoever is on the receiving end! Yet surely the makers were genuine in trying to make a good old Cavalry versus Indians actioner? That the picture often meanders and is not carpeted with action, is a little moot, but it is well put together, well acted and looks nice with its actual real Bracketville location filming (Ray Rennahan on cinematography). Paul Sawtell does one of his robust thematic musical scores, and fine acting support comes from Robert Wilke and Brian Keith.

It's a solid routine Oater, and can be enjoyed if you can forgive it its sins? Forgive them for they know not what they do...or something like that! 6/10

Paramount had a box-office hit with this fine cavalry-Indian adventure starring Charlton Heston. The dry, dusty adobe country of southwest Texas comes to life as the soldiers battle the Indians in several hit-and-run skirmishes until the troopers are forced to rely on a disliked army scout to rescue them from disaster. The picture doesn't explain why the scout, who was raised by the Apaches, hates them so much. The movie's theme of racial animosity against the Apaches is unpleasant for many viewers although the picture claims to be based on the life of an army scout. The film has great action scenes, believable characters, beautiful color cinematography and a brooding score by Paul Sawtell. Heston as the scout is well-matched against Apache leader Jack Palance and the supporting cast is solid, namely Brian Keith and Milburne Stone. In spite of its subject matter, this western was one of the best of the 1950s.

As opposed to the politically correct people here, i think this movie portrays the Indian more realistic than the politically correct image will have it. Fact is it wasn't only the white man who broke treaties and peace initiatives. It's not good to show this down the politically correct memory hole. That's why I think this kind of movies are important and should of course be shown on TV. Of course, I wholeheartedly disagree with the notion that this movie should be banned like some reviewers have hinted upon.

A strong performance by Palance and a fine Heston plus a very interesting storyline makes this one of my favorites.