I saw this film years ago, and still remember it for the incredible photography of the traveling stagecoach and backgrounds.The Cinematography rivals anything John Ford has done. The movie has received mediocre reviews, however, one should remember that the story was told as a ballad. I felt it dealt surprisingly well with inter-race prejudice. Barbara Stanwyck had a reputation for being pro-native-american. She acted her role as the white mother of an indian child well. Joel McCrea also was under-rated in his role as the sympathetic cavalryman. The supportings were solid gold character actors-Royal Dano as the stagecoach driver, Earl Holliman as the shy drifter, Rudolfo Hoyos as the Apache leader determined to get his son back. For a non-color film, it was better than most westerns of the era. I hope that someday it can be released on vhs for all to enjoy the wonderful camera work in it.
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gstevens-29 March 2001
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weezeralfalfa18 April 2017Sergeant Hook's life is changed forever by his capture of Apache chief Nanchez, her mixed race son, and silent European 'wife': Cora. Most of the drama concerns the disposition of the 5 year old son: Quito. Cora insists that he remain with her, wherever she goes. But, nearly everyone else, except Hook and a woman or two, thinks the boy should be kept with his father, wherever he goes. Most important, her white husband of about 15 years refuses to accept Quito. Hook points out that the couple didn't have any children in their 9 years together, hence Quito might be the only child he ever has. No one seems to have consulted Quito as to his preference, if any. Nanchez is obsessed that the boy be returned to him. It's not clear whether he insisted on the return of his 'wife', nor whether she would want to return, given a choice. She says Nanchez was kind to her except for one beating when she didn't do what he asked.
When captured, Cora refuses to talk in any language. Once she felt more comfortable, she began to speak English to some. Most European captives lost their facility with their native language if captured for 1 or 2 years. Generally, the younger they were, the more rapid they lost their native tongue. Cora must have been relatively old, probably 25-30 when captured. Thus, she might be expected to retain bits of her native language after about 6 years of captivity. Thus, I suspect her unexpected apparent full retention of English was more a device to facilitate the progression of the film story.
The film begins with the Apache execution of a small detachment of surrounded cavalry, who somehow had managed to lose their horses, firearms and swords. Immediately following, Sergeant Hook's larger cavalry detachment overruns the Apache, capturing Chief Nanchez, as ordered, and killing or capturing most of the other Apache.
At the army post, as well as several stage depots on the way to finding her white husband, Cora was mostly criticized for sleeping with an Apache, saying that she should have killed herself instead of yielding sexually to a fierce enemy of Europeans. Cora didn't agree. Hook comforted her, trying to minimize such revulsion, and telling her about his experience as a captured soldier in the Civil War, when he pretended to be a dog, in order to get enough food to survive.
During their trip to find Cora's husband, they have an encounter or two with Nanchez, whom they learned had escaped prison. Nanchez was still intent on capturing Quito, but Hook had another man hold a gun to Quito's head while he negotiated with Nanchez. Nanchez said the Apache called Hook "Stoneface", for his unemotional bearing, but he should be called "Stoneheart" for his refusal to hand over Quito and threatening Quito's life.
In another tense scene, when Cora is running from her husband: Jeff, toward Hook, who is about to leave Jeff's property, Jeff raises his rifle, threatening to shoot one or all of them. Just then, a bullet from Nanchez nearly hits them. They all get in the buckboard and ride in the opposite direction, with Nanchez and others following close behind. See the film to see what happens next(if you can't guess). This film is currently available on YouTube.
Of course, there are various other Hollywood films that feature females or children captured by Aboriginal Americans. Among these are: "Northwest Passage", "The Charge at Feather River", "The Searchers", "Two Flags West", "Comanche Station", "Stolen women, Captured Hearts", and "Soldier Blue"(all of which I have reviewed),but the film that most resembles the details of the present film is "The Stalking Moon", released a decade later. The main difference is that there is no white husband waiting for her in that film. To me, it's a less interesting and less realistic film. Also, some similarities to "Stagecoach", and "The Big Country" are evident.
Joel McCrea's persistent stiffness in his demeanor is probably partly the characterization of a dutiful Sergeant. However, his persona in other films tends to be stiff. Royal Dano, as the charismatic humorous stage driver serves to partly counter McCrea's stiffness. Barbara Stanwyck did well in her alternative withdrawn and feisty scenes. She was paired with McCrea in a number of other films, the one I remember being "Union Pacific" of nearly 2 decades earlier. Rudolfo Acosta, born a Mexican, mostly played bad guys, especially in westerns. Here he plays Nanchez, the worst of a bevy of bad guys in this film, including both whites and Apache. -
Joel McCrea and Barbara Stanwyck are well-matched in an okay western with a theme that's been done before in other films, namely "Duel at Diablo" several years later. Most of the film take place in a stagecoach as a white woman with a half-breed son journeys home to her husband after years of captivity among the Indians. The citizens are unwelcoming to mother and son and McCrea is along to serve as an escort and buffer against the bigotry shown to his charges. There are a few action scenes but the film centers on Stanwyck's hardships against frontier attitudes about her situation. McCrea is a comforting presence in Stanwyck's life and their friendship and trust deepen during the journey. Rudy Acosta is good as the Indian chief who wants to reclaim his son, as is Earl Holliman as a wandering cow puncher. John Denher is the hard case rancher who reluctantly accepts his wife but not her Indian son. Royal Dano has some colorful lines as the stagecoach driver.
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dougdoepke11 November 2009Another fine McCrea Western with more substance than most. Cavalry sergeant McCrea must get white Indian squaw Stanwyck and little half-breed son past bigoted whites and hostile Apaches to her former husband Dehner. Along the way, they encounter many difficulties from both whites and Indians.
Those scenic Utah vistas, even in b&w, lend real credibility to the proceedings. And catch that opening scene. Note the brutality from both cavalry and Apaches, as latter execute prisoners, while former lays waste to Indian encampment. Throughout, the subtext hints at an underlying commonality between the two races despite the hostility. Or, as Apache Nanchez and cavalryman McCrea observe during a peace parley, there's a little of each in both of them.
Now, the question logically arises—given the warfare and brutality, why is McCrea so basically kind to enemy Stanwyck and son. Sure, she was captured and made a squaw and still has white skin, but she's also born Nanchez's son, captivity or no captivity. That's enough for most whites to hate her. Thanks to an intelligent script (except for the contrived ending), we find out. McCrea was a captive during the Civil War and stayed alive by imitating a dog, of all things. So, he knows what it's like to humiliate oneself in order to stay alive, which is what the unrepentant Stanwyck has done as a captive of the Apaches. It's a solid psychological point and a credit to McCrea that his character would risk such a demeaning episode in his background.
There's also the suspenseful stand-off around the fallen stagecoach. It's pretty clear that McCrea will shoot the boy if Nanchez attacks. It's also a pretty cold-blooded gamble. What's rather surprising is that McCrea shows no doubts or compunctions about risking the boy's life. Not too many Westerns of the time showed the hero holding a gun (through Holliman) to a little boy's head, amounting to an unusual departure, particularly for McCrea's apparent lack of feeling. Of course, what's going on underneath the steely resolve is likely entirely different.
Stanwyck is excellent as the stoical Cora Sutcliff. Her career had fallen off since there weren't many A-pictures available to a middle-aged star. But being the down-to-earth person she was known to be, she gives this B-Western her best, and it shows. I just wish Earl Holliman had more screen time. Some people are born to play certain parts, and he was born to play a good-natured, slightly oafish cowboy. His scenes with McCrea amount to little gems of unspoken affection. At the same time, I'm guessing young lady Kohner's part was added to Holliman's to give the movie more youth appeal. But most of all, the film has the great Joel McCrea. No actor brought more quiet dignity and less egotism to the traditional cowboy role than he. Unfortunately, I expect it's that very low-key approach that has lowered his public profile over the years. Too bad.
This 1957 release came at a time when both movies and TV were saturated with cowboys and six-guns. As a result, many quality Westerns got lost in the crowd, and, I expect, this humane little effort is one of them. Nonetheless, the ending is much too conventional and conveniently pat to distinguish the results completely from the pack. I just wish the script showed the same imagination in the last 5 minutes that it showed in the other 70-some. Then we would have had a complete little gem. -
hitchcockthelegend21 February 2014Trooper Hook is directed by Charles Marquis Warren and collectively written by David Victor, Jack Schaefer and Herbert Little Jr. It stars Joel McCrea, Barbara Stanwyck, Earl Holliman, Royal Dano and Rudolfo Acosta. Music is by Gerald Fried, with theme tune song by Tex Ritter, and cinematography is by Ellsworth Fredericks.
Upon capturing a band of marauding Apaches, Cavalry Sergeant Clovis Hook (McCrea) finds a white woman amongst the group. Cora Sutliff (Stanwyck) was taken by the Apache years ago and became the squaw of their leader, Nanchez (Acosta), she also bore him a child, Quito (Terry Lawrence). The army decides to reunite Cora with her white husband and charge Hook with delivering both her and Quito safely across country to the Sutliff homestead...
Splendid cast is assembled for this black and white Oater that is more about racism and the problems of inter-racial relations in the Old West, than it is a Cavalry Vs Indians shoot 'em up. Story essentially follows a stagecoach travelling across country that finds Hook, Cora and Quito encountering all manner of characters along the way, most of whom are racist. While of course there is the small matter of the Apache being on their tail as well.
Hook is a grizzled old badger, orders are orders, regardless of if he had any sort of objections to his mission, he's there to keep order and see the job through. For various reasons, everyone on the journey will be looking to him for action and decisions, not least Cora and Quito who begin to form a warm relationship with him. It of course builds to a head once the Apache come back onto the scene, and there's the issue of if Cora's husband will accept her and her half-breed son into his life?
It's very competently performed, and with the exception of some of the lower budget aspects of the production, it's well crafted by Warren. Unfortunately the writing doesn't always give the outside characters a quality of script befitting the themes of the story. Hook and Cora get some good back story, she in explanation of her captivity and he with his rueful recollections as a prisoner of the Civil War. While Holliman is served well as a genial cowpoke and Dano as the crotchety stagecoach driver is great fun.
Coming as it did post far better movies that dealt with prejudice themes in the Indian Wars, it feels like a coat tail grabber, and a watered down offering at that. That it's still a worthy viewing experience comes down to the work of a committed set of lead actors. 6.5/10 -
The film had me pretty intrigued with the dynamic between Trooper Hook (Joel McCrea) and the Chiricahua Indian Nanchez (Rudolfo Acosta), but when they squared off in that deadly showdown with the chief's son caught in the middle with a gun at his head, well, that was one of the most powerful confrontations I've ever seen in any movie. Hook admits he would have given the signal to shoot the boy if Nanchez didn't back down, and I thought to myself - what if Nanchez was as hard-headed as Cora Sutliff's husband (John Dehner)? And what about Earl Holliman's character, do you think he would have gone all the way? All intriguing questions if the story went in a different direction.
But since it didn't, I thought the resolution made a huge concession to coming up with a happily ever after ending. With Sutliff and Nachez shooting each other during the chase, the ending was just a little too pat for my consideration. It made sense within the context of the story line, but Hook and Cora Sutliffe (Barbara Stanwyck) were reconciling to a life long commitment without really knowing each other.
I thought the picture had an interesting lineup of supporting players. I never recognized Royal Dano though with all that chin fuzz. He really got my attention when he had that minor blow up with Jeff Bennett (Holliman) over the fare for the stagecoach ride, admonishing Bennett for being 'deafer than a woodpecker in a hailstorm'. The imagery of that line was classic, I'm going to have to remember to put it to good use some day.
Edward Andrews shows up as a fellow stage traveler as well, playing the kind of slimy character he got to do a lot of in movies and various TV series. The creep tried to buy off Nanchez or convince Cora to give up the kid, deserving his fate for playing both sides against the middle. Sheb Wooley also had a brief scene in which he portrayed a vicious racist when Cora showed up with Quito (Terry Lawrence). He didn't last long with the Trooper around.
So over all not too bad a story, but closing out in conventional fashion that audiences of the era probably found favorable. One other side note that I thought made the story a little off beat was not finding out the name of Earl Holliman's character till the end of the movie. -
JohnHowardReid21 November 2017Director: CHARLES MARQUIS WARREN. Screenplay: Charles Marquis Warren, David Victor and Herbert Little Jr from a story by Jack Schaefer. Photography: Ellsworth Fredericks. Editor: Fred Berger. Art director: Nick Remisoff. Women's costumes: Voulee Giokaris. Music and direction: Gerald Fried. Title song by Gerald Fried (music) and Mitzi Cummings (lyrics), sung by Tex Ritter. Set decorator: G.W. Berntsen. Make-up: Bill Woods and John Holden. Hair styles: Nadine Danks. Wardrobe master: Robert Odell. Property master: Mike Gordon. Casting director: Lynn Stalmaster. Script supervisor: May Wald. Assistant director: Nathan Barrager. Production manager: Glenn Cook. Sound recording: Fred A. Kessler. Westrex Sound System. Producer: Sol Baer Fielding. A Sol Baer Fielding Production. Executive producer: Sol Baer Fielding.
Copyright 1957 by Sol Baer Fielding. A Filmaster Production. Released through United Artists. New York opening as a support to the vaudeville bill at the Palace: 12 July 1957. U.S. release: 1 June 1957. U.K. release: floating from October/November 1957. Australian release: 23 January 1958. 7,414 feet. 82 minutes.
SYNOPSIS: When a band of Apaches is captured, a white woman, held prisoner for seven years is freed. During her captivity, she has borne a son to the Apache chief. A cavalry sergeant is ordered to escort the woman and her boy back to her husband by stagecoach.
COMMENT: A superstar at worldwide ticket windows in the 1930s, 1940s and early 1950s, Barbara Stanwyck had fallen from cinema grace by the time Trooper Hook was released in 1958. Few people saw it. Including me. But the film has always had a reputation as an off- beat and fascinating little western. So it was good to catch up with it finally on TV.
Needless to say, I was disappointed. True, the central situation is promisingly intriguing, but little is made of it. In fact the plot follows such a predictable course, I guarantee every reasonably experienced moviegoer could predict the outcome by the end of the first reel.
I've seen many pictures where twists in the narrative bring about a momentary surprise. Occasionally I've been forced to re-appraise my whole assessment as to where the story was heading. But not in this picture! Though agreeably acted, and staged — on real locations — with a moderate amount of excitement, it's a familiar, cliché-ridden yarn.
There are many passages in which Warren's direction signally lacks his usual flair. True, the script is over-weighted with dialogue. Warren is obviously bored, saving his energies for the location and action scenes. I love the shots of the stage hurtling across dusty plains.
The players do what they can with their clichéd characters. McCrea comes over best. He looks as old as the script makes him (48) too! Earl Holliman makes his layabout cowboy an ingratiating figure. But Stanwyck's performance is routine, conveying little of the torment, anguish, yet inner strength of the character. I got the impression she was holding herself back for her usual big emotional scene at the climax — but this was one of the few script expectations that didn't actually happen. Instead the plot was resolved in an anticipated but somewhat abrupt and unsatisfying manner.
Most of the character players are stuck with their usual routines: Edward Andrews as a blustering, greedy coward; John Dehner as the stiff, uncompromising husband; Celia Lovsky as the old Spanish aristocrat; Stanley Adams as a loud-mouthed salesman.
The only slight deviation from type allows Royal Dano to walk away with the acting honors for his crustily flamboyant old stage-driver. (Walter Brennan or Andy Devine or "Gabby" Hayes were presumably busy that week).
By major studio "B" standards, production values are pretty moderate. It's obvious the stars didn't venture too far or too often from the studio, judging from the large number of process screen effects employed and at least one distractingly phony scenic backdrop.
However, I enjoyed Tex Ritter's theme song and would have welcomed more reprises. I also admired the dusty gray location photography contributed by Ellsworth Fredericks. -
Uriah4313 September 2021After a deadly battle between Apache warriors and cavalry soldiers, the leader of the Indian tribe "Nanchez" (Rodolfo Acosta) is taken prisoner and escorted back to the fort pending his removal to a reservation. Also captured are a few braves along with several women and children. However, it's only after the soldiers have rounded all of them up that they discover that one of their prisoners is a white woman-and she has a young half-Apache boy with her. To that effect, it is later learned that her name is "Cora Sutliff" (Barbara Stanwyck) and after being captured by the Apaches several years earlier was forced to become the wife of Nanchez-and the small child named "Quito" (Terry Lawrence) is a result of this relationship. Complicating matters is the fact that was married prior to being abducted and not knowing what else to do the Army decides to send her and her son back to her husband "Fred Sutliff" (John Dehner) on the next stagecoach to Tuscon. And to make sure she gets there safely a soldier by the name of "Sergeant Clovis Hook" (Joel McCrea) is assigned as her escort. What they don't know is that Nanchez has escaped from custody and after reuniting with several warriors has followed in pursuit-and he has every intention of reclaiming his son in the process. Now rather than reveal any more, I will just say that this was a fairly decent Western that focused heavily on the issue of racism which was rapidly becoming quite contentious during this particular time. Admittedly, there are some scenes involving Quito which were a bit too cutesy but other than that I enjoyed this film and I have rated it accordingly. Slightly above average.
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bkoganbing12 January 2007One of Joel McCrea's better westerns is Trooper Hook the story of a man given a mission to deliver a recent captive of the Indians back to her family.
This is no ordinary captive. Barbara Stanwyck has been with the Apaches for several years and has been the squaw of Chief Rudolfo Acosta and has had a son by him. After an a raid on Acosta's village she's discovered by the cavalry and identified. She and her little boy are taken to the fort and McCrea is given the assignment of taking her back to husband John Dehner. But this is going to prove a difficult journey on many levels.
Had Trooper Hook been directed by someone like John Ford it would have gotten far more acclaim than it did. There are elements of Ford's Stagecoach, The Searchers and Two Rode Together in Trooper Hook. And Rudolfo Acosta as Chief Natchez seems to be continuing the part he played in Hondo.
One thing I've always liked about westerns they certainly give the more mature among us the chance to be heroes. And the movies never had a better straight arrow hero than Joel McCrea. It's mentioned he's a career soldier and 47 years old. He needs every bit of that experience for the job at hand.
Stanwyck has a tough road to hoe in this film. A lot of very self righteous people wonder why she just didn't kill herself rather than submit to Acosta. McCrea understands however, the scene where he tells her of his experience in Andersonville prison during the Civil War is the most effective in the film.
Lots of western regulars fill out the supporting roles. In addition to those mentioned look for Earl Holliman as the sympathetic young cowboy who hitches a ride on the stagecoach, Celia Lovsky and Susan Kohner as grandmother and granddaughter, Edward Andrews as a sniveling rat who will make your skin crawl, and Royal Dano as the stage driver.
Rape, Illegitimate birth, Miscegenation and kidnapping were usually not subjects for the Saturday afternoon kiddie crowd who saw westerns. But the Fifties was the decade of the adult western and Trooper Hook is a prime example. In fact on her Big Valley television series, Stanwyck had a similar story line with Michael Burns about a young boy who was born to a white woman captive and later returns to white society. Only the story was from the kid's point of view.
Trooper Hook is the sixth and last film Joel McCrea and Barbara Stanwyck made. It might very well be the best of them. Though director Charles Marquis Warren was obviously influenced by John Ford, I doubt very much if Ford himself could have done a better job. Trooper Hook is an undiscovered masterpiece in need of reevaluation. -
mark.waltz3 April 2024Barbara Stanwyck loved making westerns, and was very good in them. It's too bad that she wasn't offered any between 1957 ("Forty Guns" made after this one) and her return to the big screen, doing some westerns on weekly television before her long run on "The Big Valley". Even as recurring performer on "Wagon Train", she made quite an impression. For Brooklyn born Barbara, the open land meant space and freedom, and she looked great on a horse.
This is one of the most unique westerns of the classic era of that genre. It deals with racism between the white man and the natives, with Stanwyck, married to John Dehner, held captive by Apache chief Rodolfo Acosta, and having his son. When Acosta is captured, sergeant Joel McCrea escorts Stanwyck and the young boy to be reunited with Dehner (which happens towards the end), and in spite of what Stanwyck has to say, it's obvious that her husband is not going to accept her son from another man especially an Apache.
During their journey on the wagon train, they discover that Acosta has escaped and wants his son. Cowardly passenger Edward Andrews (in another one of his pompous trouble maker roles) is scared with the situation, while elderly Celia Lovsky, energetic Earl Holliman and sweet Susan Kohner are more accepting. The confrontation between McCrea and Acosta is beautifully written and reveals a depth to Acosta rarely afforded to a native character. My only issue with this was the intrusion of the Tex Ritter theme song which after the first time began to become cumbersome. -
wes-connors3 June 2012When US Cavalry officer Joel McCrea (as Clovis Hook) captures Apache Indian chief Rodolfo Acosta (as Nanchez), he discovers one of the Native American's "squaws" is "white woman" Barbara Stanwyck (as Cora). We learn Ms. Stanwyck was abducted and bore the Indian Chief a son, cute little Terry Lawrence (as Quito). Charged with returning Stanwyck to her husband, Mr. McCrea faces much prejudice along the way; the bigotry is compounded by the fact that Stanwyck refuses to leave her Apache son with the tribe. As we wonder how Stanwyck will be received by husband John Dehner (as Fred Sutliff), the boy's real father is freed to stalk the travelers...
Though second-billed and not even the subject of the title "Trooper Hook", this story focuses squarely of Stanwyck's character. A classic, the golden age actress performs well while maintaining her great screen presence. A co-star from the same era who became a star in the "western" genre, McCrea makes his role as important. Friendly cowboy Earl Holliman (as Jeff Bennett) and money flushed Edward Andrews (as Charlie Travers) lead a fine supporting cast...
Directed by Charles Marquis Warren, this film plays like a fine TV anthology show entry; possibly a series starring McCrea was considered. But there are some serious story problems. It's doubly doubtful that a certain character would be shot dead due to actions by both McCrea and Mr. Holliman. And, what happened to the $10,000? While that scene is debatable, the marital status of McCrea's character wavers wildly. While waiting for Stanwyck's husband, McCrea says, "My wife doesn't always meet me." By the end of the film, McCrea is conveniently unmarried again; and, talk about people wanting to marry him off suggests he'd never been married.
***** Trooper Hook (6/26/57) Charles Marquis Warren ~ Joel McCrea, Barbara Stanwyck, Earl Holliman, Edward Andrews -
Richie-67-48585211 November 2017Quality entertainment here. Joel Mcrea, Barbara Stanwick and Earl Holliman pull it off along with some good supporting staff to bring us a movie with depth and feeling. The subject matter brings out any hidden prejudice and helps us to examine it in the light of reality. We go back in time when Indians were around and being rounded up and there are many tales to tell about that. This one involves a white woman taken captive and ending up having a son by an Indian chief. Not a very popular position back then and every generation since then has something to say about this subject. We see how we can choose between three choices while watching. Either we accept the situation, reject it or stand-up for it. The movie gives us those positions and more. It also ends on a positive note which back in the day was needful and helpful especially if the subject matter was controversial. Enjoy the horses, towns, dust, general store and stagecoach days as they came and went so quickly but affected many a life. Good movie to snack with a tasty drink too. I always enjoy Westerns that have a catchy tune either in the beginning or ending. This one has it in the middle of it not once but twice. The tune which was a story set to music makes sense. I couldn't help but think they should have done a sequel too. Mount up and lets ride.
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JOEL McCREA has orders to deliver Mrs. Sutliffe (BARBARA STANWYCK) and her Indian son to her husband after she's been rescued from an Indian tribe where she was forced to submit to becoming an Indian squaw. His mission has all the overtones of a John Ford western like "Stagecoach" which has McCrea transporting passengers via stagecoach to their destination.
Lacking strong direction, there's a B-film flavor to the film despite the presence of McCrea and Stanwyck in the leading roles. Both were past their prime and box-office value and they deserved a stronger vehicle than this to house their talents. EARL HOLLIMAN and SUSAN KOHNER have supporting roles as a young couple finding romance.
Tension mounts as the Apache chief makes plans for an Indian attack to get his wife back. Some plot complications mount too, but all of this is given standard treatment. Stanwyck becomes her usual feisty self when she's threatened with having her boy taken away by Nanchez and McCrea is the epitome of level-headed calm as an Army sergeant in charge of some dicey situations, including racial animosity toward the woman who had been a captive of the Indians.
John Ford dealt with some of the same ingredients in his famous film, THE SEARCHERS, and oh what a difference it made to have him behind the camera.
Summing up: Some unusual material, but ultimately it's just a standard western with uninspired direction by Charles Marquis Warren. -
dsmsrd430 June 2007Joel Mccrea at his best.I recorded this off the tmc channel recently on a dvr. The dvr went bad so I lost the show.I have tried to find this movie everywhere and it is not available. What a shame this treasure is lost to so many. The little boy Terry Lawrence was so very good. No one could have played that part better. Lynn Stalmaster in my opinion was the best at casting that ever was. You could depend on the actors doing a good job if he picked them for it. Everyone in this show is superb.A very realistic show without going into the sordid details of todays movies.I am an adult and I know what happened. Don't need to see it.I like good endings without the hero's getting killed. I watch movies to be entertained not depressed and this one fills the bill.
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bux3 June 2002This 50s western is way ahead of it's time. It deals with child custody and parental rights issues, as well as the racial implications created by the abduction of a white woman by Indians. Once again, director/writer Warren, (Little Big Horn(1951) presents a tidy package, well scripted, acted, with attention to detail. The cast is first-rate and Holliman does a good job in one of his early roles. Put it all together with a nifty title song by Tex Ritter, and what we have here is something FAR from forgettable.
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rmax30482328 June 2009"Trooper Hook" is an engaging title, suggestive of a colorful robust cavalry Western, maybe something along the lines of those majestic John Ford numbers. Sadly, it's anything but that.
The original story is by Jack Schaeffer, who wrote the novel "Shane." The book wasn't that hot, being essentially a cobbled together and unsophisticated old-fashioned pulp piece. It was made into a Western masterpiece by George Stevens, the director, and his crew.
Well, Charles Marquis Warren is no George Stevens. His direction here and elsewhere is flat and uninspired. The script is of little help. After Sergeant Hook, Joel McRae, battles and defeats the Apaches, they find a captive white woman Barbara Stanwyck who has had a child by the Apache Chief, the camera-ready but modestly talented Rudolfo Acosta.
McRae takes Stanwyck and her child on a stagecoach ride, along with various other passengers, some of them obviously derivative. (When, oh, when, will we see a stagecoach in dangerous country without a greedy banker?) They are pursued by Acosta and his band, who have escaped from prison. Finally, McRae sees to it that Stanwyck and her husband, John Dehner, who has thought her dead for lo these seven or eight years, are reunited. The only problem is that Dehner doesn't like the notion that Stanwyck has been getting it on with an Apache, nor is he particularly fond of the prospect of raising "another man's leavings." Well, en fin, Dehner and Acosta are killed and Stanwyck and her boy leave with McRae, object: matrimony.
I suppose something could have been done with a plot like this, even if the Apaches in some ways are the usual stand-ins for African Americans. But it's a slow story with a lot of grumbling and no sparkles in the script. Whoever thought of casting the familiar and reliable, Viennese-as-all-get-out Cecilia Lovsky as a Spanish duena? She ought to be making Sacher-tortes, not tortillas. Barbara Stanwyck, a good and sexy actress ten or fifteen years earlier, looks steely. We're half an hour into the film before she has a line of dialog -- and not many after that. Joel McRae is almost unrecognizably aged and wears a mustache that makes him look older. It's not that actors in late middle-age don't belong in Westerns. McRae himself did a splendid job two years later in "Ride the High Country", under a far better director, and Gary Cooper was just about right in "High Noon." But, whatever your age, you need a good vehicle and a director who knows what he's doing -- and this ain't it.
It's not an insulting movie. Its sentiments aren't wrong. And it's not outrageously sloppy. It's just plain dull. -
planktonrules26 December 2012The 1950s were not especially great for Barbara Stanwyck. The once A-list actress was now older and was no longer being offered the same roles that made her famous. Now, instead of love stories or comedies, she now was given roles in westerns--popular films, yes, but certainly not prestige films. Some of the westerns were pretty good--most were just okay. However, "Trooper Hook" was one of her better films from this period--made better due to a good script as well as an exceptional co-starring performance from Joel McCrae. While Stanwyck was 'slumming it' in westerns, McCrea's career actually went through a resurgence. As an older actor, he gracefully moved from handsome leading man to a tough and likable western star. Together, they made a dandy film in "Trooper Hook".
The film begins with a group of renegade American Indians killing a squad of Cavalry men. Only moments later, reinforcements arrive and the Indians are killed or captured. In the process, a white woman (Stanwyck) is found among the tribe. Apparently, nine years earlier she'd been taken prisoner by them and in the interim, she became the wife of their leader. Now, the leader is captured and it's up to the Sergeant (McCrea) to take Stanwyck and her young child back to her original husband. But, the child is not his--and who knows how he'll react to having a child who is half Native American. Considering how badly many in the film react to the kid, you assume the reunion won't go very well.
While the story is good, the way the story is constructed is even better--as is the direction and acting. In fact, there isn't a lot to dislike about the film. It manages to treat the Natives reasonably fairly and is NOT just another 'bad Indian' film but has some real depth. Well worth seeing. I'd give it a 9 except that the ending happened too quickly and seemed to work out a bit too perfectly.
By the way, the singing in the film is done well by Tex Ritter (who also provided music for "High Noon" as well as in many of his starring roles). I was actually a bit surprised by this, however, as Sheb Wooley was in the film and he also was an accomplished singer and could have sung the songs. I am not complaining....just surprised. -
drystyx6 May 2020This is a Western semi action semi drama about a woman who was kidnapped by a very hostile Indian chief. Barbara Stanwyck is reunited in this movie with Joel McCrea. They were two of the giants in the movie star business. In the classic UNION PACIFIC they played two characters who were larger than life, but credible in incredible circumstances. Here, it is the opposite. They play two lower than life characters who aren't credible. Barbara plays a woman whose self righteousness knows no bounds. On one hand, she is a married woman who was kidnapped and forced to have a son with a criminal. Upon her rescue, she insists on forcing the son upon her husband instead of letting the husband take care of the son. Naturally, this is going to cause some people to get killed, but she never feels a bit of remorse for that. Joel plays a cavalry NCO who escorts her back to her husband. For some reason, he played him totally "in control". Anyone who appears that much in control all the time is out of control. The writing is simply terrible. You can tell by the way that only the major characters are treated with any dignity. The more minor a character is, the more "cannon fodder" he is made to be in the writer's theme. And it really sticks out when the writer and director try to make it look more character oriented. Not to say it is terrible. There are good parts, but what truly ruins it is the self righteousness of the heroine, and the poor writing and predictable treatment of the minor characters.
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jazerbini7 September 2015Joel McCrea and Barbara Stanwyck made several films together, this was the last. And if we look good is a high level of western. The direction of Charles Marquis Warren is safe, in fact he was a great professional, with also numerous successful tours. And the film has a photograph very well made, high profile.The story is written by Jack Schaefer wrote the same as Shane and made possible the great work of George Stevens (1953). Mc Crea had ups and downs in his performances, but remembering Union Pacific also with Barbara we saw an actor of the first magnitude. And as a surprise, a good surprise, Earl Holliman has an outstanding record, perhaps the best of his career. Recalls the role of the great John Wayne in Stagecoach, a pure cowboy and without prejudice. One might compare the role of McCrea with Wayne, but I think the Holliman is closer to him. Anyway, it's a nice and sincere western. And farewell to us all the incredible double McCrea and Stanwyck, wonderful.
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searchanddestroy-125 June 2023This is a true good western, made by THE specialist Charles Marquis Warren, one of the best masters in this category, but unfortunately underrated. This movie starring Joel McCrea and Barbara Stanwyck could not be bad anyway. The topic is predictable but unusual and interesting to watch. Joel MccRea has here a role which seemed to have been made for him. Barbara Stanwyck is also wonderful, as usual. Rodolfo Acosta is terrific here as Natchez, one of his best characters but amybe not the most know, like the film. It is well written, edited, providing exciting action sequences. Don't miss the opportunity to catch it if you can.
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PrairieKid29 June 2012Army troop captures a renegade Apache leader and his followers which includes a white woman captive who is the mother of the leader's half breed son. The woman chooses to keep her son and take him with her. The sergeant is put in charge of returning the woman with her child to the woman's husband. The white soldiers, their wives and many of the other people they encounter are negative towards the woman, what she endured and her wanting to keep her son. The boy's father escapes and attempts to recover his son and return him to the Apache tribe knowing the boy will not be accepted in the white world. Almost identical story line to a later film, The Stalking Moon, starring Gregory Peck. Shot in black and white, this is definitely a B western with a low grade TV movie feel and some poor moving effects. Not a great western or one of Stanwyck's or McRae's better efforts.
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ddyinky29 October 2020The complex chemistry between McCrea and Stanwick is wonderful. This is one of McCrea's finest performances. The supporting actors were well cast, colorful, and interesting.The writing is thoughtful and intelligent. The cinematography is excellent. It is a great film, well worth a second or third viewing.
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PeterJackson31 July 2000Trooper Hook(played by Joel McCrea)is a hard, but good-natured army officer, fighting against the Indians. When taking captive a notorious Apache leader, he finds out the Indian's wife is a white woman(Barbara Stanwyck), with an Indian child. Hook has to bring the woman(and the child) back to her real husband. Of course, there are some complications.(nothing you couldn't have guessed however)And that's about all the story there is...
The only good thing about this western is the acting. Stanwyck and McCrea do a good job. The film itself never becomes irritating, but that's about the best you can say about it. There's hardly a decent story, the songs are pretty lousy and sometimes you can notice that it wasn't exactly the wild wild west they were filming in. Notice that at a certain moment the coach in which our main characters are traveling comes to a stop. When you see a close-up of Stanwyck however, the vehicle seems to be moving. It's just one of the examples of bad filming in this movie... 4/10 -
thave-3176823 December 2020Watching, "Captain Hook" reminded me why I miss the old westerns. Worth your time. Joel McCrea and the sassy Barbara Stanwyck make a great team.
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elettra-230 March 2008In the fond hope that my question couldn't spoil the story, only make it more intriguing. Several years ago I screened "Trooper Hook". Enjoyed watching old friend, Edward Andrews (Alive and kicking, no thanks to me), but a nagging question about the film remains: What happened to the $15,000 left by "the cowardly hostage" when the protagonists were "rescued" ? I didn't see even an Indian grab for it. My knowledge of Eddie Andrews stemmed from meeting and entertaining him and his lady, as well as Cloris Leachman, Patricia and Philip Barry and others after a Summer Stock stint in Fairport, NY circa 194? I had invited them all back to my house for a lovely ham casserole. However the glass dish slipped off the rolling cart and smashed into a million pieces/shards ! The first taste of what I managed to sweep up and thought safe to ingest, had tiny bits therein. Dinner was called to a spitting halt. Aside from a few Twilight Zone episodes, I don't think I ever saw him again. A great comical bad guy and a fine friend. He never would have abandoned what today would be half a million dollars !