Poetic Film Review: Cheyenne Autumn (1964)

In twilight's hush, where legends roam,
A director's legacy, a story to be known,
John Ford's Cheyenne Autumn, a film of old,
A tale of Native Americans, their struggles to be told.

With Mari Sandoz' book as guide and Howard Fast's fire,
The screenplay weaves a narrative, a complex heart's desire,
To tell the story of the Northern Cheyenne Exodus' plight,
A chapter in history, marked by sorrow and endless night.

The film unfolds like a canvas, wide and grand,
Monument Valley's vistas, a backdrop to the land,
William Clothier's lens captures the beauty and the pain,
As Alex North's score echoes, a haunting refrain.

But amidst the epic scope, flaws begin to show,
Casting choices questionable, dialogue that doesn't flow,
The "Cheyenne language" an oversight, an error of old,
Navajo words spoken by actors, not of Cheyenne fold.

The romantic subplot distracts from the main theme's might,
Archer and Deborah's love story feels like an unnecessary fight,
And Archer himself embodies a trope that undermines Indigenous agency true.
A White Saviour complex that critics now eschew,

Historical events selectively told with some omitted facts too.
Replacing one stereotype with another does little to break through.
Killings and rapes committed by Cheyennes left out of sight.
Glossing over truths in favor of noble savagery shining bright.

James R. Webb’s screenplay falters under stereotypes so bold.
World War II parallels drawn with Poland under Russian rule so cold.
Captain Wessels portrayed as insane when history shows otherwise true.
Carl Schurz speaking perfect American despite his German roots anew.

Wyatt Earp and Doc Holliday appear in Dodge City’s comedic haze so bright.
Feeling out of place within this somber narrative tone tonight.
Ford’s desire for friendship cameos detracts from gravitas wholehearted attempt at telling truth profound but instead
Miscasting James Stewart further exacerbates dissonance echoing all around

Despite its good intentions Cheyenne Autumn now feels dated worn thin
Juxtaposed against more nuanced films Little Big Man Soldier Blue it pales within
Critics lambast for failing representation indigenous voices unheard still today
Dances with Wolves approached similar themes more skillfully radical in every way

John Ford’s attempt at addressing historical injustices faced long ago
Ultimately falters on outdated tropes miscasting narrative inconsistencies laid low.

(Note: The review in its original form can be read here.)

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