Chief Thundercloud Movies

If John Ford is the greatest Western director, The Searchers is arguably his greatest film, at once a grand outdoor spectacle like such Ford classics as She Wore a Yellow Ribbon (1949) and Rio Grande (1950) and a film about one man's troubling moral codes, a big-screen adventure of the 1950s that anticipated the complex themes and characters that would dominate the 1970s. John Wayne plays Ethan Edwards, a former Confederate soldier who returns to his brother Aaron's frontier cabin three years after the end of the Civil War. Ethan still has his rebel uniform and weapons, a large stash of Yankee gold, and no explanations as to where he's been since Lee's surrender. A loner not comfortable in the bosom of his family, Ethan also harbors a bitter hatred of Indians (though he knows their lore and language well) and trusts no one but himself. Ethan and Martin Pawley (Jeffrey Hunter), Aaron's adopted son, join a makeshift band of Texas Rangers fending off an assault by renegade Comanches. Before they can run off the Indians, several homes are attacked, and Ethan returns to discover his brother and sister-in-law dead and their two daughters kidnapped. While they soon learn that one of the girls is dead, the other, Debbie, is still alive, and with obsessive determination, Ethan and Martin spend the next five years in a relentless search for Debbie -- and for Scar (Henry Brandon), the fearsome Comanche chief who abducted her. But while Martin wants to save his sister and bring her home, Ethan seems primarily motivated by his hatred of the Comanches; it's hard to say if he wants to rescue Debbie or murder the girl who has lived with Indians too long to be considered "white." John Wayne gives perhaps his finest performance in a role that predated screen antiheroes of the 1970s; by the film's conclusion, his single-minded obsession seems less like heroism and more like madness. Wayne bravely refuses to soft-pedal Ethan's ugly side, and the result is a remarkable portrait of a man incapable of answering to anyone but himself, who ultimately has more in common with his despised Indians than with his more "civilized" brethren. Natalie Wood is striking in her brief role as the 16-year-old Debbie, lost between two worlds, and Winton C. Hoch's Technicolor photography captures Monument Valley's savage beauty with subtle grace. The Searchers paved the way for such revisionist Westerns as The Wild Bunch (1969) and McCabe & Mrs. Miller (1971), and its influence on movies from Taxi Driver (1976) to Close Encounters of the Third Kind (1977) and Star Wars (1977) testifies to its lasting importance. ~ Mark Deming, All Movie Guide

A Ticket to Tomahawk has sometimes been described as a musical western satire, but in fact is more "straight" western than anything else--not that there's anything wrong with that, of course. Dan Dailey plays a travelling medicine show entrepreneur who comes to the aid of fast-shootin' Anne Baxter, daughter of a railroad man. Stagecoach line representative Rory Calhoun is doing everything he can to prevent a new train service from winning a Colorado territory franchise. The whole affair boils down to a race between the train and Calhoun's coaches. The film's never-take-a-breath action scenes are played out against some of the most gorgeous Colorado scenery ever captured on Technicolor. A Ticket to Tomahawk has achieved latter-day fame due to the unbilled presence of Marilyn Monroe as one of Dan Dailey's chorus gals. ~ Hal Erickson, All Movie Guide

In the late 1940s - early 1950s, Columbia Pictures enjoyed a great deal of success with a series of slapsticky feature films built around the talents of such gifted funsters as Red Skelton, Lucille Ball, William Bendix and Jack Carson. In this tradition, Columbia's Traveling Saleswoman is a showcase for the delightful Joan Davis. The star plays Mabel King, who heads westward to sell her father's soap. Tagging along is Mabel's erstwhile beau Waldo (Andy Devine). In the course of the film's 74 minutes, Mabel wins over a hostile Indian tribe, makes short work of an outlaw named Cactus Jack (Joe Sawyer) and a saloon chirp named Lilly (Adele Jergens), and even gets to warble a song or two in her own inimitable fashion. Traveling Saleswoman was produced by Tony Owen, who later prospered as producer of a long-running TV sitcom starring his wife, Donna Reed. ~ Hal Erickson, All Movie Guide

Ambush is a tight, well-paced western, expertly assembled by veteran director Sam Wood, whose last film this was. Robert Taylor stars as an Indian scout, sent to rescue a woman who is somewhere deep in Apache territory. The woman's sister, naturally, goes along for the ride: she is played by Arlene Dahl, then in her considerable prime. Outside of its feminine angle, Ambush is packed with action from first frame to last. Released to theatres at the tail end of 1949, the film was an unqualified success with holiday audiences. ~ Hal Erickson, All Movie Guide

Davy Crockett, king of the wild frontier, didn't become a nationwide craze (and merchandising cash cow) until Disney got hold of him in 1954. In the meantime, however, there was Columbia's Davy Crockett, Indian Scout, which in fact had little to do with the famed frontiersman. George Montgomery stars as Crockett's same-named nephew, a military scout assigned to insure safe passage for wagon trains. Someone has been tipping off the Indians as to the trains' movements, and Crockett wants to find out who before more blood is spilled. Suspicion immediately falls upon Davy's Tonto-like Indian companion Red Hawk (Philip Reed), but the answer lies somewhere else in the supporting cast. Also appearing in Davy Crockett, Indian Scout are Ellen Drew as the mixed-blood heroine, Robert Barrat as a muscular Indian chief and Paul Guilfoyle as a heavily disguised undercover agent. ~ Hal Erickson, All Movie Guide

The dastardly mayor of this film's title town sets out to provide the local Native Americans with guns and ammunition so that they may pillage a neighboring burg. ~ Michael Hastings, All Movie Guide

Cecil B. DeMille's first postwar production, the $5 million Technicolor historical spectacular Unconquered lacks only the kitchen sink. The story begins in England in the 1760s, as Abigail Martha Hale (Paulette Goddard), unjustly accused of a crime against the Crown, is sentenced by the Lord Chief Justice (C. Aubrey Smith) to 14 years' forced servitude in North America. Carted off to the auction block, Abigail is highly coveted by slavemaster Martin Garth (Howard da Silva), but the highest bidder turns out to be Virginia militiaman Captain Christopher Holden (Gary Cooper). Having been jilted by his aristocratic fiancee Diana (Virginia Grey), Holden harbors no romantic feelings for Abigail, but he's determined not to let her fall into Garth's grimy clutches. The patriotic Holden also knows that Garth, who is married to the daughter (Katherine de Mille) of Indian chief Pontiac (Robert Warwick), has been trading firearms to the Ottawas. The treacherous Garth later participates in the "Pontiac Conspiracy," an allegiance of 18 Indian nations forsworn to wipe out every colonist on the East Coast. To put Holden out of the way, Garth arranges for him to be court-martialed and sentenced to death on a trumped-up desertion charge. But Abigail, partly in repayment for her rescue from Seneca chief Guyasuta (Boris Karloff) and partly because she's fallen in love with Holden, helps him escape, just in time to save a nearby military fort from an Indian massacre -- a feat accomplished by a subterfuge straight out of Beau Geste, which also starred Gary Cooper! As historically suspect as any Cecil B. DeMille epic, Unconquered is still marvelous escapist entertainment, especially during the time-honored bathtub scene involving a bare-shouldered Paulette Goddard (who spends most of the film in either a state of dishabille or bondage, or both!) Once again, however, Mr. "Spare No Expense" DeMille cuts corners by filming most of his major exterior scenes within the artificial confines of the Paramount sound stages. ~ Hal Erickson, All Movie Guide

Filmed in two-toned Cinecolor, Romance of the West was the second of PRC's western vehicles for singing cowboy Eddie Dean. Our hero is cast as a government agent, bound and determined to prevent an Indian war. The villains are a gang of outlaws who are fomenting discord between the Indians and the white settlers for their own gain. The plan is to have both sides wipe each other out, so that the crooks can move in and claim the silver-rich land. Emmet Lynn, Dean's comedy relief, would be replaced in later entries by Roscoe Ates, all for the better. ~ Hal Erickson, All Movie Guide

Adhering to the long tradition of casting non-action leads in their serials, Republic Pictures hired former 20th Century-Fox light leading man Robert Kent to headline no less than two chapterplays in 1946, King of the Royal Mounted and The Phantom Rider. In the latter, the amiable, good-looking Kent played James Sterling, an earnest young medical doctor attempting to establish an Indian police corps on the Big Tree Reservation. Facing continuing sabotage by unknown forces, the young medico takes up the guise of "Phantom Rider," a mysterious avenger righting the territory's many wrongs. Sterling is secretly opposed by Fred Carson (LeRoy Mason), whose outward friendliness hides a sinister desire to dominate the reservation, but finds loyal allies in Indian friend Blue Feather (George J. Lewis), pretty schoolmarm Doris Shannon (Peggy Stewart), and Nugget (Hal Taliaferro), a tough but lovable miner. Kent, who was doubled by ace Republic stunt-man Dale Van Sickel, headed a superior cast of serial stalwarts that also included Roy Barcroft as a marshal, Tom London, as a henchman, and, in a bit part, future cowboy hero Monte Hale. An edited feature version of the serial was released simultaneously as Ghost Riders of the West. ~ Hans J. Wollstein, All Movie Guide

The bland performance of star George Raft is the only drawback of this splashy 20th Century-Fox musical. Set in turn-of-the-century San Francisco, the film casts Raft as Barbary Coast saloonkeeper Tony Angel, who endears himself to patrons and pedestrians alike by tossing out silver dollars at the slightest provocation. Though Tony is loved by saloon singer Sally Templeton (Vivian Blaine), he only has eyes for Nob Hill socialite Harriet Carruthers (Joan Bennett). Upon marrying Harriet, Tony realizes he is sorely outclassed, and turns to the bottle as the result. It's up to "Little Miss Fixit" Katie Flanagan (Peggy Ann Garner) to bring Tony and Sally back together. Ample comedy relief is provided by Alan Reed and B. S. Pully, while the largely uncredited supporting cast includes such familiar faces as J. Farrell McDonald, Nestor Paiva, Bud Jamieson, and Frank McCown, who rose to fame under the new moniker of Rory Calhoun. ~ Hal Erickson, All Movie Guide

In the penultimate "Trail Blazers" B-Western, the often difficult Ken Maynard found himself summarily replaced by Chief Thundercloud, a somewhat original casting concept for Monogram, a stolid poverty row company that rarely took chances. Thundercloud joined veteran "Trail Blazers" Hoot Gibson and Bob Steele and yet another newcomer, Rocky Camron (aka Gene Alsace), in pursuing nasty "Honest John" Travers (Cy Kendall), a banker who rules the Johnstown area with an iron fist. "Honest John's" supremacy is threatened by the arrival of beef packing company buyer Carl Beldon (George Eldredge), there to purchase cattle from the very same ranchers Travers is trying to freeze out. When Beldon mysteriously disappears and rancher Bob Thornton is mortally wounded by renegades, U.S. Marshals Gibson, Steele and Thundercloud are assigned to investigate. With the assistance of Thornton's pretty daughter Alice (Jennifer Holt) and Sheriff Rocky Camron), the three "Trail Blazers" manage to get the goods on "Honest John," proving that the banker's henchman, Chuck Walters (Charles King), killed both Thornton and Beldon. In no less than her fifteenth B-Western, leading lady Jennifer Holt, daughter of Jack and sister of Tim, suffered the indignity of having her first name misspelled "Jenifer" in the on-screen credits. She shared the humiliation with legendary Native-American athlete Jim Thorpe, whose name read "Thorp." Monogram was just that kind of company. ~ Hans J. Wollstein, All Movie Guide

The second entry in Monogram's low-budget "Trail Blazers" B-Western series, The Law Rides Again marked the final directorial effort of Alan J. Neitz (alias Alan James), a veteran genre specialist whose career dated back to 1916. Aging lawmen Ken Maynard and Hoot Gibson are this time assigned to determine why an Indian tribe is breaking their treaty with the United States government. Aligning themselves with a notorious criminal (Jack LaRue), Ken and Hoot discover that the tribe is being cheated out of their government sanctioned cattle by a crooked Indian agent (Kenneth Harlan) and his Indian co-cohort (Chief Many Treatise. Filmed on the cheap at Corriganville, actor Ray "Crash" Corrigan's movie ranch in Simi Valley, California, The Law Rides Again's only novelty was stunt-rider Betty Miles) playing a female stage driver. Chief Thundercloud, here playing the Indian chief, would later replace the increasingly difficult Ken Maynard in the final two "Trail Blazers" entries, Outlaw Trail and Sonora Stagecoach (both 1944). ~ Hans J. Wollstein, All Movie Guide

In this western, set in the Western wilderness, a wily and dangerous wild stallion threatens all that enter his domain including humans. Only brave Chief Thundercloud can tame him. ~ Sandra Brennan, All Movie Guide