7 reviews
This western is one of Alan Ladd's best films and he is the peace commissioner turned Indian fighter who finally brings peace in the far west. The film is based on factual events as Modoc boss Captain Jack ignores repeated overtures for peace and leaves the cavalry no choice but to resort to arms to stop the killing and outrages. Ladd and Charles Bronson, the Indian leader, make fine adversaries and the movie has lots of action and beautiful scenery. A great cast of western favorites are in the film and Ladd even has a moment or two to clinch with with pretty Audrey Dalton. Marisa Pavan is an Indian maiden who also has a yen for Ladd. Delmer Daves directed this film, which is another in a succession of excellent Daves westerns. Victor Young's fine music accompanies the film.
- NewEnglandPat
- May 24, 2003
- Permalink
This is based on true facts, but since the Modocs were never in Arizona, i found the scenery comical. If you do a search for, 'Canby's Cross', it takes you to the north end of California, about 12 miles south of the Oregon border. In the 'Lava Beds National Monument.'
Canby's Cross is a monument erected on the site of the killings, to honor the men lost. On the cross, is inscribed, "Gen Canby USA was murdered here by the Modocs April 11, 1873"
The real Canby was shot in the face. In the movie, it appeared they kept that detail, as you see him clutch his face after the second shot.
Canby's Cross is a monument erected on the site of the killings, to honor the men lost. On the cross, is inscribed, "Gen Canby USA was murdered here by the Modocs April 11, 1873"
The real Canby was shot in the face. In the movie, it appeared they kept that detail, as you see him clutch his face after the second shot.
"Drum Beat", released in 1954 pits Alan Ladd, as an Indian fighter turned peace commissioner, against the leader of the Modoc Indians of N. California, led by Charles Bronson. Ladd, as Johnny McKay, has an intense bitterness towards Indians in general, as they had slaughtered his family years earlier. However, Pres. Grant desires him to work with the Modoc tribe, in particular, to bring peace in the area of California and Oregon. The Modoc chief, Captain Jack, played by Charles Bronson, feels that an area of land is Modoc land only, and it is his to take, and keep. He also has an intense feeling toward the army medals and blue coats, which, to him, are symbols of power and authority. He even kills a retired army colonel, and seizes the medals off the coat the man was wearing.
Ladd, with the aid of Modoc Indians that desire peace, attempts to settle the conflict, but hostilities do break out between the tribe and the soldiers. This was the role that Ladd seemed to shine best in, that of the tight-lipped, slow-to-anger, tough guy. Watchable western fare.
Ladd, with the aid of Modoc Indians that desire peace, attempts to settle the conflict, but hostilities do break out between the tribe and the soldiers. This was the role that Ladd seemed to shine best in, that of the tight-lipped, slow-to-anger, tough guy. Watchable western fare.
Drum Beat is written and directed by Delmer Daves. It stars Alan Ladd, Charles Bronson, Robert Keith, Audrey Dalton, Marisa Pavan, Rodolfo Acosta, Warner Anderson, Elisha Cook Jr and Anthony Caruso. A CinemaScope/Warnercolor production, music is scored by Victor Young and cinematography by J. Peverell Marley.
Alan Ladd is Indian fighter Johnny Mackay, who is ordered by President Ulysses Grant (Hayden Rorke) to negotiate with the Modoc Indians in an attempt to avert war...
Utterly frustrating! One of the most attractive looking Westerns of the fifties, Daves' movie doesn't quite have the courage of its convictions. The core basis of the film is sound, though as we are told from the off, it features fictionalised enhancements to further dramatic impact. Snatching from a little known part of the Indian Wars from 1872/3 (to be applauded), that of the Modoc Uprising, film is set in 1869 around the Oregon-California border. Plot and story are put in place neatly, where the characters are interesting, the back drop of various Arizona locations is simply in "scope" gorgeous, and the narrative promises some boldness as the first person killed is an innocent woman and the white man protagonists are fuelled by anger and hatred. But...
Unfortunately with a running time of one hour and fifty minutes, many passages of chatter never really expand the characters. Something which is not usually applicable to Delmer Daves when he was on form. We should be getting high grade dramatic worth from the principle players, their conversations should ping with emotion and depth, after being set up as people with voices to be heard, we never get a real grasp of Mackay's inner conflict, or Captain Jack's (Bronson) staunch loyalty to his cause, or even the depth and reasoning of Bill Satterwhite's (Keith) hatred. While there is, as the historians will tell you, a severe dilution of the story to suit the white man's cause. It's hard to believe this is the same director of Broken Arrow from four years earlier! But then Daves wasn't writing the screenplay....
Maybe Daves felt he needed to better the screenplay for Broken Arrow? To show he could put down on the page some "liberal" quality as well as directing? He would prove post Drum Beat that he could "co-write" great Western screenplays (Jubal/White Feather/The Last Wagon), but here on his own he falls short. Not only does it skulk in the shadow of Broken Arrow, it also pales into insignificance to Anthony Mann's brilliant Devil's Doorway, which was also from 1950. You can feel Daves striving for relevance in the mid fifties, but he is trumped by narrative zest elsewhere, a shame since the acting performances and production quality make Drum Beat very watchable.
Visually it's superb, Sedona's various natural beauties are excellently captured by Peverell Marley (The Left Handed Gun/Westbound), while Daves proves adept at utilising the landscapes as part of his action sequences (check out the red rock rifle engagement scene). Young's score is a goodie, blending bombastic beats with ballad strains, and the Warnercolor is gorgeous, one of the better Warnercolor productions that I have seen. Acting wise it's Bronson's movie, physically perfect and featuring a shifty aggressive ebullience that's most appealing. Ladd scores well, too, nicely underplayed at the critical moments, Keith has a thespian quality that suits the role of an Indian hating aggressor, and Elisha Cook provides weasel smarts that make us yearn for his part to have been bigger.
Some have questioned why this isn't better known or worthy of a widespread home format release? The answer is that simply it has more style than substance, and Daves, as much as us Western fans love him, is to blame from a writing perspective. Visually and aurally the film ranks a comfortable 9/10. As a whole, sadly, it rounds out as 6.5/10.
Alan Ladd is Indian fighter Johnny Mackay, who is ordered by President Ulysses Grant (Hayden Rorke) to negotiate with the Modoc Indians in an attempt to avert war...
Utterly frustrating! One of the most attractive looking Westerns of the fifties, Daves' movie doesn't quite have the courage of its convictions. The core basis of the film is sound, though as we are told from the off, it features fictionalised enhancements to further dramatic impact. Snatching from a little known part of the Indian Wars from 1872/3 (to be applauded), that of the Modoc Uprising, film is set in 1869 around the Oregon-California border. Plot and story are put in place neatly, where the characters are interesting, the back drop of various Arizona locations is simply in "scope" gorgeous, and the narrative promises some boldness as the first person killed is an innocent woman and the white man protagonists are fuelled by anger and hatred. But...
Unfortunately with a running time of one hour and fifty minutes, many passages of chatter never really expand the characters. Something which is not usually applicable to Delmer Daves when he was on form. We should be getting high grade dramatic worth from the principle players, their conversations should ping with emotion and depth, after being set up as people with voices to be heard, we never get a real grasp of Mackay's inner conflict, or Captain Jack's (Bronson) staunch loyalty to his cause, or even the depth and reasoning of Bill Satterwhite's (Keith) hatred. While there is, as the historians will tell you, a severe dilution of the story to suit the white man's cause. It's hard to believe this is the same director of Broken Arrow from four years earlier! But then Daves wasn't writing the screenplay....
Maybe Daves felt he needed to better the screenplay for Broken Arrow? To show he could put down on the page some "liberal" quality as well as directing? He would prove post Drum Beat that he could "co-write" great Western screenplays (Jubal/White Feather/The Last Wagon), but here on his own he falls short. Not only does it skulk in the shadow of Broken Arrow, it also pales into insignificance to Anthony Mann's brilliant Devil's Doorway, which was also from 1950. You can feel Daves striving for relevance in the mid fifties, but he is trumped by narrative zest elsewhere, a shame since the acting performances and production quality make Drum Beat very watchable.
Visually it's superb, Sedona's various natural beauties are excellently captured by Peverell Marley (The Left Handed Gun/Westbound), while Daves proves adept at utilising the landscapes as part of his action sequences (check out the red rock rifle engagement scene). Young's score is a goodie, blending bombastic beats with ballad strains, and the Warnercolor is gorgeous, one of the better Warnercolor productions that I have seen. Acting wise it's Bronson's movie, physically perfect and featuring a shifty aggressive ebullience that's most appealing. Ladd scores well, too, nicely underplayed at the critical moments, Keith has a thespian quality that suits the role of an Indian hating aggressor, and Elisha Cook provides weasel smarts that make us yearn for his part to have been bigger.
Some have questioned why this isn't better known or worthy of a widespread home format release? The answer is that simply it has more style than substance, and Daves, as much as us Western fans love him, is to blame from a writing perspective. Visually and aurally the film ranks a comfortable 9/10. As a whole, sadly, it rounds out as 6.5/10.
- hitchcockthelegend
- Sep 18, 2012
- Permalink
There was a Modoc war. The main characters in the movie are factual. What happens to the main characters are factual. Makes the movie even more entertaining. An added bonus is all the great scenery. I thought this was a fairly balanced film between the Indians and the settlers. Both sides had issues here. The hatred the Indians had and the hatred of many of the whites are displayed. At the same time, many of the whites and many of the Indians got along fine and that is also seen here. Don't get me wrong, this is not a documentary. It is a movie. They take an actual event and build a story around it. They did good job.
- craig_smith9
- Sep 19, 2022
- Permalink
A fairly scenic Western which boasts that it is based on true events, and announces in the beginning that it does take literary license to make it more entertaining, so there's no beef about that.
Ladd plays Indian fighter Johnny, who has a hate-like-hate relationship with Captain Jack, played by Charles Bronson, and is on a first name basis with the leading thugs that accompany Captain Jack.
Captain Jack is a Modoc Native American, but he is not a real captain. He steals medals from officers he kills. The real leaders of the Modoc don't trust him, and think little of him. Same for his main cohorts.
He makes a name for himself in villainy, and President Grant tries to quell his killing peacefully. He sees the importance of keeping peace with the good Modoc people who would make good neighbors.
As with any Delmer Daves directed movie, we know his high handed American Nazi ideology will prevail, and he will force the issue to kill at least one beautiful brunette woman. One must wonder if Daves was once jilted and humiliated by a brown eyed brunette, in order to make him continually do this.
It is just one of the "forced" looking events that take place in this movie. More "forced" is the direction, in which Daves seems to want to display certain lines and characteristics in very unnatural looking sequences of events. It looks like Daves had in mind to make sure certain lines were spoken, and certain images taken. It almost looks like a movie made by a story book artist.
Daves is a bit more subdued in this movie than in most movies, however, and it probably is the best of his works, which isn't saying much.
Ladd plays Indian fighter Johnny, who has a hate-like-hate relationship with Captain Jack, played by Charles Bronson, and is on a first name basis with the leading thugs that accompany Captain Jack.
Captain Jack is a Modoc Native American, but he is not a real captain. He steals medals from officers he kills. The real leaders of the Modoc don't trust him, and think little of him. Same for his main cohorts.
He makes a name for himself in villainy, and President Grant tries to quell his killing peacefully. He sees the importance of keeping peace with the good Modoc people who would make good neighbors.
As with any Delmer Daves directed movie, we know his high handed American Nazi ideology will prevail, and he will force the issue to kill at least one beautiful brunette woman. One must wonder if Daves was once jilted and humiliated by a brown eyed brunette, in order to make him continually do this.
It is just one of the "forced" looking events that take place in this movie. More "forced" is the direction, in which Daves seems to want to display certain lines and characteristics in very unnatural looking sequences of events. It looks like Daves had in mind to make sure certain lines were spoken, and certain images taken. It almost looks like a movie made by a story book artist.
Daves is a bit more subdued in this movie than in most movies, however, and it probably is the best of his works, which isn't saying much.