I agree with a previous review that the actor who makes the most impression is Tom Santschi, whose story of revenge this really is. His failure of saving Millie who sees Sheriff Hunter (Lou Tellegrin), her murderer, as the last image she sees while in Santaschi's arms, is quite cinematic. This hour and a half film has everything you would want in a western, sound or silent.
There's a cute meet of George O'Brien and Olive Borden and one knows they're going to be together at the end by the 3 "bad men". Santschi is the leader who makes sure that happens. J. Farrell McDonald and Tom Campeau become a comedy team when they search for a proper suitor for Borden, but when Borden settles for O'Brien, it's settled.
The fight scenes look truly realistic and John Ford shows his genius for great visuals. The church burning scene and the abandoned infant of the Oklahmoma Land Rush scene are among the best scenes he ever did.
Santschi died in 1931. His sad eyes and his authoritative style is mostly forgotten and is one of the reasons the film should be better remembered. MacDonad would live on to 1952 and was featured in many Ford and others but barely registers like he does here. His eyebrows alone are very funny to watch and he, as in the Iron Horse, was very good as the comedy relief guy.
Great use of the outdoors and putting extra meanings in the framing of scenes was Ford's stock in trade. Not all of his movies are classic. But this one most definitely is.
There's a cute meet of George O'Brien and Olive Borden and one knows they're going to be together at the end by the 3 "bad men". Santschi is the leader who makes sure that happens. J. Farrell McDonald and Tom Campeau become a comedy team when they search for a proper suitor for Borden, but when Borden settles for O'Brien, it's settled.
The fight scenes look truly realistic and John Ford shows his genius for great visuals. The church burning scene and the abandoned infant of the Oklahmoma Land Rush scene are among the best scenes he ever did.
Santschi died in 1931. His sad eyes and his authoritative style is mostly forgotten and is one of the reasons the film should be better remembered. MacDonad would live on to 1952 and was featured in many Ford and others but barely registers like he does here. His eyebrows alone are very funny to watch and he, as in the Iron Horse, was very good as the comedy relief guy.
Great use of the outdoors and putting extra meanings in the framing of scenes was Ford's stock in trade. Not all of his movies are classic. But this one most definitely is.