If you want a western that has its being outdoors in the wide open spaces, then Red River fits the bill perfectly. It also concentrates on the hard life of the true cowboy in the context of a 1,000 mile cattle drive from Texas to Missouri, rather than on the gunfighter. Director Howard Hawks pulls out all the stops in his pictorial description (and I longed for the film to have been made in colour) of the drive, with a cast of thousands of beasts driven by c. 20 men, and we experience the stresses of their task up hill, down dale and at river crossings, all wonderfully conveyed in close-up and long-shot by Hawks' roving camera.
The human drama, a battle for supremacy, prestige and authority fought out from almost the first moment to the last by a cattle baron (John Wayne) and his adopted son (Montgomery Clift), both men of exceptional will and stubbornness, forms the emotional heart of the picture, and the rest of the large cast essentially make up both backcloth and chorus against which and whom the protagonists test themselves and each other. Both actors demonstrate great energy of being and feeling, and if Clift in the end takes away the main acting honours, this is because his role is the more subtle - a young man of sensibility made tough and unbending from Wayne's example and the requirements of the harsh terrain.
But the movie has its faults. First, it's too long at 133 mins; there are periods where neither story nor pictorial record are advancing. Second, the concentration on the two main characters leads to a lack of differentiation in the secondary players. In particular, when Cherry (John Ireland, always an intriguing actor), a cowboy gunfighter, is introduced, he promises to introduce an interesting sub-plot of malevolence and rivalry with Clift. But both character and this sub-plot soon dwindle away and are wasted, with Cherry becoming an anonymous figure well before the end. Third, as other reviewers here have pointed out, the sentimental ending is so disappointing. Everything has pointed to a final reckoning and then at the last minute Hawks ducks the issue - not only reducing the stature of the two protagonists but diminishing the whole point of the previously feisty Joanne Dru.
These drawbacks are enough, to my mind, to ensure that people who rate this up there with John Ford's "The Searchers" are fairly wide of the mark.