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Two Rode Together
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Directed by John Ford
One of director John Ford's least characteristic films, it derives from the latter part of his career, when the director's belief in the myth of the West had faded, and he was beset by failing health and personal problems. In the cynicism of its humor, the director seems be to taking a page from the work of his friend Howard Hawks. James Stewart stars as Guthrie McCabe, the marshal of a Texas town who spends most of his time in front of the local saloon, where he gets 10 percent of the action, in addition to favors from its owner, Belle Aragon Anelle Hayes. Based on his knowledge of the Commanche tribe, his friend, cavalry officer Jim Gary (Richard Widmark), asks him to help the army to recover long-missing white captives. Despite his initial reluctance, the ability of the opportunistic McCabe to neogotiate a lucrative per capita deal for his recovery of the captives, in addition to his desire to evade the marital intentions of Belle, seal the deal. Even after interviewing the captives' desperate relatives, the hardened McCabe is unmoved, although he believes their chance of ever seeing their relatives again as they once knew them is remote. However, as events unfold, the all-knowing marshal find he has a few things to learn. ~ Michael Costello, All Movie Guide
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Review by All Movie Guide
All Movie Guide
is neutral about it.
John Ford's darkly comic film, in one way a skewed version of his masterpiece The Searchers (1956), is not among his best, but it does have some laughs, an occasional thought, and an interesting performance by James Stewart. The cynicism of his character, which extends the tough cowboy persona he had developed in the Westerns of Anthony Mann, plays against his iconography. Widmark, likewise abandons his characteristic sneer as the kind of sincere character that was usually played by his co-star. Their comic, bickering friendship, the film's strongest suit, is summed up in a longish scene on a river bank, which has only a vague connection to the plot. Unfortunately, Ford seems unsure about how to handle the script's cynicism, and much of the film has a listless, pro forma quality and a surprising visual banality, suggesting that the director's ill health had taken a toll. The somewhat reactionary depiction of Native Americans as a savage Other, engulfing the humanity of its captives, is countered by a sequence implying the racism and savagery of the supposedly civilized. The celebration of community that had once been a cornerstone of Ford's work has been replaced by a sense of its fragility. ~ Michael Costello, All Movie Guide
 

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