The Command is directed by David Butler and adapted by Samuel Fuller and Russell Hughes from the novel "Rear Guard" written by James Warner Bellah. It stars Guy Madison, James Whitmore, Joan Weldon, Carl Benton Reid and Harvey Lembeck. A CinemaScope production in Warnercolor, music is by Dimitri Tiomkin and cinematography by Wilfred M. Cline. When the commanding officer of his Cavalry patrol is killed, the army doctor is tasked with taking the reins and leading the men. It deserves to be better known. Warner Brother's first CinemaScope release and the first Western to be filmed in that widescreen format, The Command is far better than what the routine synopsis suggests it is. For sure the Cavalry versus Indians theme is the steady heartbeat ticking away in the piece, but the writers have inserted other points of worth to expand the level of interest throughout the hour and half running time. Madison is Captain MacClaw, the Cavalry doctor who is entrusted with command of the troop by his dying superior. The men aren't happy with this, more so when they find themselves involved in a deadly game of cat and mouse with the Indian hordes. Not only that but they are charged with escorting a civilian wagon train to safety, the residents of which may be transporting smallpox! When the troop are joined by an infantry regiment, this only complicates matters because there's no love lost between the two army forces. Where the Indians have a united front, the various tribes fighting as one force, the American military are at odds with each other on tactics and manoeuvres. Tactics are a big issue in The Command, the story tosses up the argument about doing things by the book or breaking free of code restrictions and throwing caution to the wind. There's also opposing issues on the medical front, two doctors at odds with diagnoses which quite literally could be the end of them all if they can't get it right. Some critics have said Butler's direction is ponderous, but I'd argue strongly that that is not the case. It's true that the first hour involves a lot of talking, squabbling and sarcasm, but the director is juggling many thematic balls in readiness for the grand last third of the piece. Besides, he does insert action scenes along the way, including one blood and thunder sequence that is capped off by a surprising turn of events. Then that last half hour comes, and it is superb. The tactics issue comes to a head, and everyone wonders if this is going to be another General Custer piece of history. Pic then explodes into all out action, with weaponry combat supplemented by hand to hand sequences. Chases are electrifying, the fires do rage and the wagons do hurtle and fall, the stunt work here is excellent, as is Butler's fluid camera work. We even have time for some fun in the mix, as one of the "special" tactics involves drag artistry. Tiomkin layers a boisterous score over proceedings, mixing marching beats with thunderclap percussion, and Cline in the Scope format brings the various California locations (pic is mostly set outdoors) bursting out of the screen. Cast are just dandy, with Whitmore the class act on show, but both Madison and Weldon make for a colourful and appealingly interesting pair. It's guilty of being rooted in those Westerns of the era who just put the Indians up as a savage force whooping, hollering, firing arrows and flinging axes. Even though Whitmore's Sergeant Elliot is given some lines that recognise the Indians as not being dumb Howitzer fodder. So this obviously isn't in the league of those great psychological Westerns that afforded the Indians great respect. This is firmly in the realm of action for entertainments sake, with some other delicate thematics that garnish the spectacle on the cinematic plate. 8/10

In this one, the Indians get slaughtered as usual but it's the infantry that rescues the cavalry. There's a novelty for you.I think I saw this when it was first released, but I only remember two scenes. In one, Guy Madison, as an Army doctor accompanying a cavalry troop must take command and he has to strip off his Captain's epaulets with the black medical background, and sew on new ones with the gold background of the cavalry. It was a learning experience. In the 1870s the US Army used a black background for medical officers and a gold background for cavalry. Later, we learned that a bluish-gray background signifies infantry. I didn't know that. Neither did anyone else in the Mayfair Theater. A kid in Newark would be hard put to recognize a horse if he saw one.None of us learned much from the second scene. The pretty young Joan Weldon -- a real-life opera singer from San Francisco -- has been exposed to a disease and must be vaccinated, so Guy Madison has her unbutton her blouse and pull it down far enough to bare one arm and a tantalizing expanse of pectoralis major. Exciting, sure, but nothing new there. Madison and Weldon fall in love all of a sudden. You can tell because every once in a while they interrupt their serious conversation to kiss before drawing apart and going about their business. That's the fault of the director, David Butler, a studio hack who rarely brought much to the party. Basically, Madison, having been forced into a leadership position by circumstances, is despised as a mere Doc by his two dozen troopers. It gets worse when they run into a wagon train that is menaced by Indians. There are many infantry accompanying the wagons and they despise the cavalry and are despised in return. Furthermore, one wagon load of immigrants from New York may have brought smallpox with them. The infantry's regimental surgeon, filthy and obdurate, dismisses the prodromal symptoms as "the grip" but the superior Doctor Guy Madison suspects it may be worse than that. At the same time, he can't reveal that he's a doctor because then all the soldiers would lose faith in his ability to lead.It's what's known as a "latent status" movie. The hero has some set of extraordinary skills that conditions prevent him from revealing. Usually he's a doctor ("The Fugitive") but sometimes a gun slinger ("The Fastest Gun In the West"). Guy Madison isn't just a secret medico. He's a crack horseman, a genius at cavalry tactics, and excels at fisticuffs. He has a ski-slope nose that ends in a point and I'm told he is handsome. He was in the Coast Guard. Handsomeness is a requirement for service in the Coast Guard. I was in the Coast Guard. In this instance, Doctor Madison hastily reads a book on cavalry tactics and then twists them around in such a way as to effect a greater slaughter of attacking Indians and save most of the wagon train and soldiers. "In medicine, we learn that sometimes you have to improvise." One improvisation involves blowing a dozen Indians' heads off with a cannon load of grape shot. The story is by the militaristic James Warner Bellah, who had little sympathy for Indians or anybody else.Bellah knew the historical setting though. I learned a little about cavalry tactics too. I forgot to mention that at the beginning because I was frankly obsessed with Joan Weldon's left deltoid. And let's not just dismiss the importance of cavalry tactics. In the American Civil War, the North stank. The Confederates bundled their cavalry into independent fighting forces instead of distributing them piecemeal as infantry reconnaissance and support. It was a hard-learned lesson and the professor was J. E. B. Stuart. Then we managed to forget all about it when tanks were introduced in World War I and used strictly as infantry support. It took Guderian and Rommel and the Blitzkrieg to teach us the same thing all over again.Where was I? Yes, that's right -- Joan Weldon's trapezius. I'll bet she had a great voice too.

A great Western that entertains well. It is a movie, along with "Charge at Feather River", where Guy Madison plays a character that though having to fight the Indians, also understands their situation.The chemistry between Madison's and Whitmore's characters was very well played. It is well paced with story moments and action moments fitting together well.As a historical note, the Winchesters used by the troopers were incorrect as props but then this was a 1950s Western when no one cared about those details. Spencer Carbines would have been correct but unavailable. The one interesting gun prop is in the scene where the scouts are chased back to the column and meet up with the Capt. and others. One of the troopers is obviously holding a Schofield revolver which though quite unusual, were used by the U.S. Cavalry in small numbers.I really hope that this movie is released on DVD someday soon.

This surprisingly fun western stars Guy Madison as a Doctor Robert MacClaw who finds himself in charge of his cavalry troup as a result of his commanding officer's dying order. Needless to say, the men aren't thrilled, but he wins them over with his unorthodox, yet effective, tactics against the bands of hostile Indians who stand between them and safety. Along the way his command grows to include a wagon train of settlers and two units of inexperienced infantry. Naturally, there's a romantic subplot involving one of the settlers, and a breakout of smallpox that calls upon his medical skills. The romance seems tepid and formulaic, but MacClaw's relationship with his senior officer, Sgt Elliott, is believable and strong. Despite a disturbingly high body count of Indians, the good doctor doesn't show much remorse about the slaughter. Ironically, he seems much more worried that they'll be decimated by smallpox contracted from the wagon train. Don't look for any kind of message here, however, it's just good clean fun (if you can overlook the dead Indians), with an exciting high-speed wagon chase at the end!