Only the Valiant

Made a couple of years after Ford's 'Fort Apache' (1948), in some ways Douglas' violent film is reminiscent of that earlier work. Gregory Peck's straight-backed Captain Lance, the unpopular stickler for honour and adherent to all the fine print of duty, recalls Ford's military martinet Lieutenant Colonel Thursday (Fonda). There's a significant difference of course: Lance has a quiet competence throughout (and grudging respect of the ranks) conspicuously absent in Thursday's command. And whereas Thursday's actions lead to disaster, Lance pulls off a successful mission. Corporal Gilchrist (Ward Bond, also in 'Apache'), grudgingly admits as much as he declines to shoot the Captain, maddened at the height of his personal whisky drought: Lance is "the only man who can get them through", faults and all. Like the narrow pass through which the Apaches must move to attack the fort, Lance works within a narrow confine of responsibility and honour which can be dangerously constricting.

Interestingly, for a film ostensibly full of action, much significance attaches itself exactly to the opposite. For instance, it is Lance's unwillingness to draw upon others to clear his honour that estranges him from the post and his girlfriend Cathy after the death of Lieutenant Holloway. Most importantly, it is Lance's 'failure' to shoot the indian chief at the beginning, immediately after the fluke capture, which precipitates the death of so many others (a fault corrected at the end when Lance uses a knife in the last struggle). The film suggests that it necessary to bend the rules sometimes to achieve more effective results (whether or not this includes condoning murder in cold blood of a captive is another matter) - and positions various disrupting influences against the Captain as way of demonstration of the checks and balances this involves.

Chief of these is Corporal Gilchrist, who rather steals the film -particularly in the light of Peck's characteristic dullness as an actor. It is Gilchrist who is present at the start of events, he who rounds out the film. It is he too, who provokes a rare yielding, as far as military rules are concerned, by Lance: the Captain allows him a surreptitious swig of whisky just before the final attack. A boisterous, womanising drunkard, Bond plays a character to the hilt familiar from Ford's 'cavalry trilogy' and other films.

The forces contrasting Lance's discipline, control and code of honour rang neatly and conveniently against him at the fort. A deserter, a drunkard, a frustrated bully, an irrationally violent man - these and others, are the small command aptly chosen by Lance (being those the army can "spare mostly easily") to support his mission. In effect, such a select rabble represent the dregs of the army. But also, the weaknesses and darkness which all men contain, and naturally it is these which Lance has to face and master, as much as holding the pass against more physical incursion.

Reflecting this intrigue, the film is naturally rich in character acting. Besides Bond's loud bluffness, one also relishes Chaney's satanic Kebussyan (his character definitely *not* a Fordian derivative!), and the grouchy bitterness of Neville Brand's sergeant Murdock. Much of the film's pleasure lays in such incidentals, especially as the events at the pass, when examined logically, hardly make military sense (Why don't the indians just attack in one go? Why do they keep retreating back through the pass when they have broken out?)

Douglas, who went on to make the superb 'Rio Conchos' (1964) and the minor cult item 'Barquero'(1970) made too few Westerns, and does a good, tough job in direction. His pacing and grasp of tension helps to mask over the glaring differences in geology between the studio's 'pass' and the real thing shot on location. Co-scriptwriter Brown was to write Hawk's masterpiece El Dorado. In short: recommended, but for a more complex and convincing portrait of the cavalry under command see Ford.

Only the Valiant isn't a great movie, but it is a good one. It is sluggishly paced however, with some parts that feel drawn out, and there were times when the direction was lacking. That said, Only the Valiant is very well shot, the black and white cinematography looks good, and the scenery is authentic. Also good is the score, which is suitably rousing, the script is decently structured and the story is interesting while taking inspiration from Fort Apache and Red River. The acting ranges from decent to very good; I am not a huge Gregory Peck fan(I sometimes find him dull) but he does a good job as the ruthless and tight-lipped martinet officer, and Barbara Payton is luminous and pretty as Cathy. Ward Bond, Gig Young and Jeff Corey are much more impressive though. Overall, not perfect, but worth the look. 7/10 Bethany Cox

In the book that Michael Freedland wrote about Gregory Peck, Only the Valiant is described as the worst film Gregory Peck ever made. During those beginning years of his stardom it seems like just about every film became a classic of some kind.

Only the Valiant was shot on the cheap and it shows. The book says that Gregory Peck's cavalry uniform was an old costume worn by Rod Cameron in one of his B westerns. It was an independent production by James Cagney and as part of the deal Peck got Barbara Payton who had a contract with Cagney himself and was used in Kiss Tomorrow Goodbye which he produced and also starred in.

According to Michael Freedland's book, Peck who was still tied to David O. Selznick got $60,000.00 for the part of cavalry captain Richard Lance. Selznick got $150.000.00 and Peck was not a happy camper. Still being the professional he was, Peck did the film.

In truth Only the Valiant is a far better film than MGM's big budget The Great Sinner which Peck also starred in. Mainly because of a very competent crew of players that James Cagney gathered for this film. And an interesting script which contains elements of Beau Geste, The Lost Patrol, The Dirty Dozen and David and Bathsheba which Peck had starred in.

Peck and Gig Young are rivals for Barbara Payton and Peck is ordered to send Young on a patrol to take hostile Apache chief Michael Ansara to a better staffed army fort. Young gets killed and Ansara escapes and the old Uriah the Hittite story starts circulating at Peck's post.

Later he gets an assignment to man an abandoned fort that sits across a narrow mountain pass that the Apaches can't even charge through on horseback. He takes a select group of army misfits, some of whom would like to kill him worse than the Apaches.

Even with Ward Bond as an alcoholic corporal, any resemblance between these soldiers and those John Ford cavalry pictures is coincidental. The ones who he takes with him, Sergeant Neville Brand, Lieutenant Dan Riss, Bond, Troopers Terry Kilburn, Steve Brodie, and Lon Chaney, Jr. are a collection that Lee Marvin would gladly have taken on a mission.

Chaney has the strangest role. He's named Kabushyan and he's Armenian though the men refer to him as A-rab. He's got one big old gay crush on Gig Young though it's not spelled out due to Code restrictions and he hates Peck worse than the others. It's the best performance in the film.

Only the Valiant has an A list cast with B production values, I wish it had been done with a bigger budget.

This is a luminously photographed and unusually well-written western by veteran creator of "Rawhide" Charles Marquis Warren. Direcxtor Gordon Douglas is its chief help in this regard. Its strong plot line can be told in a few sentences. A hard-nosed by-the- book, Cavalry officer, Captain Richard Lance, captures a leader of the Indian enemy after a massacre at a fort. He insists on bringing the man back for trial, to be sent toTucson; his commander sends another man to try to take the prisoner for trial and the patrol is wiped out. This means the leader has escaped, and Lance must now lead a second patrol--and he picks the men the fort can most spare, a company of problems-- to defend the advance fort that had been wiped out and save the command from another attack by stopping up the bottleneck pass in that sector. As Lance, young Gregory Peck is quite strong. Other in the large cast of this film which really shows life at a cavalry outpost looking like an army establishment of heterogeneous and quarreling types includes War Bond powerful as a hard-drinking sergeant, Neville Brand and Steve Brodie as troublemakers, Warner Anderson and Lon Chaney Jr. as psychological troublemakers and Gig Young, Art Baker, Herbert Heyes as fellow officers with Nana Bryant as the Colonel's wife. Even Barbara Payton as the love interest gets by in a difficult role; Michael Ansara is the captured war chief, and Jeff Corey plays the Fort's scout. There are really two great scenes in this very-well-made western--the long section at the fort before the last patrol is sent out, and that long patrol to the doomed Ft. Defiant itself. Once at that fort, Peck gets to deliver a grand speech in which at the demand of the men he has lined up for orders, he tells them each why he took them along. reading them their shortcomings one by one; they then tell them why they think he sent his best friend to die in his place take the Indian in instead of going himself-- and he proves them wrong for the remainder of the film by winning his lonely battle through intelligence and courage. The music by Franz Waxman is good, the production qualities admirable; the argument about what would happen if Lance takes the war chief in happens to be true; other than this unsolvable mistake by the central character, this is is great western. it has been a favorite of mine for fifty years.

"Only the Valiant" is not a great western; in fact it is obvious that the director, cast and producers knew perfectly it was not going to be one. However the product is entertaining and has an interesting plot.

In order to gain some time, Cpt. Lance (Gregory Peck) is sent to defend a small abandoned fort located right in the opening of a small passage between the mountains through which the Apaches will have to ride in their way to attack the army's main position. He has been accused by his girl of sending his friend Lt. Holloway (Gig Young) in a sure-death mission just to get rid of romantic competition; Peck is innocent of course, but he doesn't feel he has to explain (sort of a character like the one he played some years later in "The Big Country").

Lance chooses his men for the mission among the worst in the regiment and those he knows have personal feelings against him. He occupies the fort and waits for the Apaches to come while watching his back at he same time.

The picture, totally unpretentious, was shot in black and white by director Gordon Douglas and you could say this was a correct decision for it adds to the grey and dark atmosphere that reigns in the fort. It is also interesting when Lance forms the men and tells each one clearly why he has chosen them for the deadly task.

The cast is adequate. Peck is good as the righteous Captain as also is Gig Young in his small part. Among the troopers you'll find such classical tough guys of the 40's and 50' as Lon Chaney, Ward Bond and Neville Brand. Michael Ansara is the Indian chief.

But what really demerits the film are some indoor settings representing the rocky passage and the fort itself that look clearly fake and cheap. Michael Ansara's outfit looks more like one for a costume party than that of the chief of an Indian war party. The point is that producers didn't want to spend much money on this film and it shows.

However it turns out to be a rather enjoyable army against Indians western and its worth one look at least.