Most Helpful Customer Reviews
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26 of 28 people found the following review helpful:
5.0 out of 5 stars
Still the best movie about the American Revolution ever made, 4 Jul 2004
There are relatively few movies about the American Revolution. I think this is due to the fact that the American side lost most of the battles of that war. The battle at Saratoga, the surprise attack at Trenton, and the siege of Yorktown are part of the short list of American victories, and except for the occasion television movie or mini-series, they are rarely touched upon. Consequently, "Drums Along the Mohawk" remains the best of American movie about the revolution even though it was made before World War I and even though the redcoats are not really involved in the fight."Drums Along the Mohawk" does not start off as a movie about the American Revolution. Instead it begins as a movie about settling the frontier, which, at that point, was upstate New York. The focus is on a pioneer couple, newlyweds, Gilbert (Henry Fonda) and Magdalena (Claudette Colbert), called Lana. Martin is a farmer who brings his bride to the Mohawk Valley where their home is burned out by Indians allied with the British. The couple are taken in by neighbors after that happens and Martin joins the militia, but the settlers are going to need more men than that to fight the Indians and save the fort from attack. Based on a novel by Walter D. Edmonds the screenplay for "Drums Along the Mohawk" is by Sonya Levien and Lamar Trotti, although William Faulkner worked on it without receiving credit as well. Edmonds' history novels were all set in upstate New York and "Drums Along the Mohawk" is about the warfare between the settlers and the Six Nations of the Iroquois allied with the British. The Battle of Oriskany in 1777, fought in a forest, was a American victory although their commander General Nicholas Herkimer (Ralph Imhof) died of his wounds in one of the moving scenes of the film. This was the third film that John Ford made in 1939, following "Stagecoach" with John Wayne and "Young Mr. Lincoln" with Fonda; his next film would be "The Grapes of Wrath." Colbert and Fonda are the stars, but they are upstaged by several members of the supporting case, such as Edna May Oliver as Mrs. McKlennar and Arthur Shields as the Reverend Rosenkrantz. The old lady has such an iron will that she can make Indians take her bed out, with her in it, while they are burning down her home, and the reverend has a memorable scene in which he eases the suffering of a tortured settler. Fonda is young and earnest, while Colbert comes to terms with what it means to be living on the American frontier in troubled times. More than anything else "Drums Along the Mohwawk" is about people coming to the realization that they are Americans, an interpretation more than amply justified by the film's final scene. These are not the Sons of Liberty living in Boston and dealing with the King's troops and all those burdensome taxes. These are small families living out on the frontier for whom the idea of the United States of America was as odd as a flag with thirteen red and white stripes with a circle of white stars on a blue field. Perhaps it is because it takes place off the main stage that "Drums Along the Mohawk" manages to hit the right notes.
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1 of 1 people found the following review helpful:
2.0 out of 5 stars
Lavishly produced but sadly unengaging, 10 Nov 2007
At a risk of a beating, Drums Along the Mohawk is one of those occasional much-beloved John Ford films that didn't really work for me. As with My Darling Clementine, Ford is much more interested in the ephemera - rituals, gatherings, minor supporting characters - than he is in story or his rather bland leads (Claudette Colbert and a dull Henry Fonda on autopilot, as he is in many of his films for Ford), and much of the humor seems particularly misplaced here, turning the burning of the widow's farm or even the burning alive of one settler into semi-comic moments. The final chase is beautifully shot, but for all Ford's efforts to establish a sense of community worth fighting for, it's hard to care.
Unlike the US DVD, which includes the original trailer, or the French DVD which includes a 47-minute documentary, the UK disc has no extras but does boast a beautifully restored colour transfer.
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1 of 2 people found the following review helpful:
4.0 out of 5 stars
An engrossing Revolutionary War story from John Ford, with many of his strengths and some of his weaknesses , 2 Aug 2007
When Lana Martin (Claudette Colbert) arrives by wagon with her new husband, Gil (Henry Fonda), to Mohawk Valley and his homestead, she isn't prepared for what she sees. The time is just before the Revolutionary War. The valley is beautiful and unspoiled, but the homestead is a one-room log cabin Gil has built, and the farm will need to be worked by the two of them. Lana has never seen an Indian, but in the course of the movie she's going to see a lot, and most won't be friendly.
Drums Along the Mohawk is John Ford's curious but effective look at one aspect of the Revolutionary War. The story isn't about George Washington or the great battles. It's the story of what happens in this one, isolated valley in upstate New York. While there are Indian attacks and we can see the results of a battle or two, the story really is about Lana Martin and how she changed. We watch her and Gil build their farm, and we see it burnt to the ground when war comes to the valley. From a young woman in a big, frilly dress facing a life she had never imagined, by the end of the movie Lana is wearing a soldier's coat and is prepared to shoot down an attacker, which she does with hardly a blink. She sees Gil return from his first battle almost shell-shocked. We see her and Gil having to become hired hands when their farm is destroyed. We see her suffer a miscarriage. At the start of the movie, Gil was an honest, hard-working young man, almost naive at times. Now he and Lana are watching the birth of their new nation. They've both become...capable. "Well," Gil says to her at the close, "I reckon we'd better be gettin' back to work. There's goin' to be a heap to do from now on." And we know he's talking about building a nation, not just a new farm.
The movie is effective despite John Ford's long-time propensity for ham-handed humor, sentimental myth building and his indulgence in stereotypical portrayals of Indians as either child-like objects of amusement or animal-like objects of fear. What saves this story, as it saved many of Ford's films, is his great talent for cinematic story-telling. As corn-ball as some of the scenes in this movie are -- the short, chubby drunk or Gil's amazement that his wife is giving birth or the wise but child-like behavior of the Christian Indian chief -- we still are caught up in Gil's and Lana's story. Although the movie is particularly a pean to the women who had to struggle on, sometimes fighting, sometimes waiting, Ford gives the film an unusual unwarlike tone. The widow Mrs. McKennar, who took Gil and Lana in when their farm was destroyed, looks at Gil marching off to his first battle and thinks about her husband. "Sometimes he'd wave. Ten to one he wasn't even seeing me. He was thinking about all those men, you see. All those men he went out to fight...to kill and be killed...blast his eyes, loving it." One powerful scene has Gil and the other men back from the battle. They won but it didn't go well. Gil has collapsed, and as Lana tends to him he barely notices her. He just stares into the distance while he tells what happened when they were ambushed. "I got down back of a log and aimed at a fellow. He leaped straight up in the air. Fell forward on his face. After that we just kept shooting as fast as we could load for I don't know how long. Adam Hartman came over beside me. His musket was broke. He had a spear. He kept grinning. I remember thinking, 'He's having a good time. He likes this.' Pretty soon he pointed off. I saw an Indian coming toward us, naked. I tried to load but it was too late. Adam stood up and braced his spear and the Indian came down. I never saw a fellow look so funny, so surprised. He just hung there, with his mouth open...lookin' at us, not sayin' a word. I had to shoot him, there wasn't anything else to do."
Ford pushes the buttons of duty, faith and patriotism. We've learned that war isn't the glorious struggle some make it out to be. Still, Ford shows us that fighting to protect our land, to protect our chance to build our farm and keep our children safe is proper. In 1939, that was a strong message. So was his theme of patriotism with which he closes the movie. At the fort in Mohawk Valley a company of regular soldiers arrives to tell the people that the war has been won, that Cornwallis has surrendered to Washington. They're carrying a flag. A churchman looks at it and says to the others, "So that's our new flag, the thing we've been fighting for. Thirteen stripes for the colonies and thirteen stars in a circle for the Union." And with that a couple of men take the flag and climb to the top of the church steeple, where they tie it down so that it waves in the wind. Ford knew how to punch home a point, alright.
Fonda and Colbert were both fine actors. Fonda, in particular, brings, as usual, a strong sense of decency to his role. While I think he and Colbert make a slightly improbable pair (Colbert in all her roles, for me, seems to have a sly worldliness that makes her so good at sophisticated comedy), they work well together. The movie is really war from a woman's point of view, and Colbert brings it off.
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