NR | 1h 49m | Drama, Western | 1961
This likeability played well in “Two Rode Together,” as it revisited Stewart’s earlier days of portraying amiable characters. Of course, it doesn’t hurt that the film is a western directed by the great John Ford, who dominated the genre during Hollywood’s Golden Age.
A Life of Leisure Interrupted
In it, Stewart plays the flawed yet good-hearted Marshal Guthrie McCabe, who likes to lounge and wake up on the porch of a saloon with his chair kicked back and polished boots resting on the porch handrail. It’s a scene reminiscent of a moment from one of Ford’s best westerns, 1946’s “My Darling Clementine,” suggesting a nod to this earlier film.McCabe dozes off, interrupted only by the sound of the town’s church bell and the arrival of a timely beer and cigar, as two imposing figures in black attire make their entrance. McCabe’s casual invitation for a drink is met with irritation from the darkly clad strangers until they learn his name. Suddenly, their demeanor shifts to one of deference, highlighting McCabe’s formidable reputation.
Thanks to McCabe’s notoriety, he avoids potential conflicts and leads a leisurely life. However, there is one nuisance—Belle Aragon (Annelle Hayes), a sassy, persistent local woman pushing him to marry her.
The relative tranquility of McCabe’s life in town is suddenly disrupted by the arrival of a U.S. Army Cavalry detachment, led by Lt. Jim Gary (Richard Widmark). Despite their evident camaraderie and shared history, Gary brings McCabe some unexpected news.
Gary discloses that he’s been tasked by his superior officer, Maj. Fraser (John McIntire), to bring McCabe to Fort Grant, 40 miles away, even if it means using force; Gary remains tight-lipped about the reasons.
Despite his initial reluctance, McCabe agrees to go, partly to distance himself from Belle’s constant nagging about tying the knot. At Fort Grant, Maj. Fraser reveals the urgent need to rescue the loved ones of local families who have been kidnapped by the Comanche, and he believes McCabe is the best candidate for the job. Though initially hesitant because of the danger in rescuing hostages from the Comanche, McCabe sees an opportunity for profit and accepts the daring mission.
Unconventional Direction
McCabe and Gary’s camaraderie brings a surprising freshness to the film’s dialogue. Unlike typical westerns, their banter feels unscripted and natural. This approach, encouraged by Ford, allows Stewart and Widmark to improvise with each other, lending their dialogue authenticity that depicts their characters in endearing ways.For example, during a particularly lengthy scene where McCabe and Gary jabber with each other near a riverbank, their banter continues, even when they interrupt one another. These long takes showcase Ford’s unconventional and effective filmmaking.
Unconventional filmmaking is indeed an American tradition, often leading to innovative and groundbreaking works. Directors like Ford embraced this tradition, encouraging improvisation and creative freedom among his actors to bring authenticity and depth to their characters. This approach not only enriches the storytelling but also contributes to the unique charm and appeal of American cinema.
When compared to some of Ford’s iconic classics, “Two Rode Together” may not shine as brightly, but it still stands as an admirable production. While the story is good and avoids demonizing Native Americans, the film’s visuals don’t match Ford’s usual stunning vistas. However, the film still presents an appealing portrayal of the natural environs. Overall, an entertaining watch.
