Superbly photographed by ace cinematographer Leon Shamroy, and directed by Robert Wise with far more style than he was later to invest on The Sound of Music, this A-grade western seems to be largely forgotten, even by connoisseurs. True, the movie doesn't have what you would call an alluring 2013 cast. Joseph Cotten is first-billed, but the fans who flocked to see Joseph Cotten in Citizen Kane, The Third Man and Niagara were actually far more interested in Orson Welles or Marilyn Monroe (and were mightily encouraged to think that way by the advertising blitz that heavily promoted Welles or Marilyn and left Cotten in the dark. I remember Henry Hathaway once remarked that as far as audiences were concerned, Cotten was such a lightweight that he made little or no impression at all). Third-billed Linda Darnell made a terrific impact in Fallen Angel (1946) and then rose to fame in the title role of Forever Amber (1947). Although she was by far the most interesting wife in A Letter to Three Wives (1948), her career slipped. On the other hand, Jeff Chandler, Cornel Wilde, Dale Robertson and even Jay C. Flippen were on the way up. Indeed all the players here fit into their roles like the proverbial gloves. Production values also leave nothing to be desired, and, as noted above, Robert Wise's always stylish direction provides some really magnificent moments, including a compelling, full-of-action climax. The screenplay was written by Casey Robinson, who also produced. Frank S. Nugent and Curtis Kenyon wrote the original screen story which they based on a December 8, 1863 proclamation by President Abraham Lincoln which permitted Southern POWs to swear allegiance to the Union, thereby restoring their citizenship and right to own property (except slaves, of course). Over 6,000 Confederate prisoners obtained their freedom by joining the Union army to fight the Indians in the west – it being tacitly agreed that they would never be asked to turn their arms against the South. The film was released in New York at the Rivoli on 12 October 1950. U.K. release date was 4 December 1950.

"Two Flags West" starts off feeling like it will be a rather clichéd affair: Cornel Wilde as an honor-bound good guy, the Confederate soldiers unreconstructed and unbowed, Jeff Chandler as an unmovable rebel-hater, and so on. But stick with it: "Two Flags West" develops into an unusually smart movie in which the strands of plot do not end predictably (for example, the expected flourishing of love between Linda Darnell and somebody, anybody, never occurs), and the dialogue becomes increasingly nuanced and thoughtful.This is a movie whose intelligence does not insult your intelligence.Joseph Cotton has always fascinated me. He is not particularly handsome, always looking older than he probably is, and his voice is strangely distinctive. But he is a wonderful actor, and his Southern Colonel is more than just obviously conflicted about whether he should stay with, or abandon, the Union army with his men: his conflict is more subtle, as he ponders where his future ultimately lies in a post-Civil War country; his very interesting dialogues about this with Linda Darnell, especially toward the end of the film, are quite pleasing to this lover of Westerns (me), who otherwise cheerfully acknowledges the clichés that often dominate this genre.The battles with the Indians are violent and nasty: we really suffer with the lonely horse soldiers of the west who are slaughtered in the fort. And the glorious black and white photography does a great job of bringing out the loneliness and understated beauty of the plains (though filmed in New Mexico) (contrast John Ford's celebratory treatment of Monument Valley).A great little Western with unexpected endings to the various strands of plot. It will leave you exceptionally fulfilled and pleased at the end.

This is an action packed cavalry film set during the Civil War.It begins with our protagonist, Joseph Cotton's character, a Confederate officer rotting in a Union prison with 43 of his men. They are offered a chance to fight Indians in the West, an act guaranteed not to hurt the Southern cause. When Cotton's character puts it to a vote to his men, it is deadlocked 21-21, with the tying vote a dying man who passes away before he can voice an opinion.Cotton grabs the chance, and becomes a cavalry man, befriended by Cornel Wilde, a Union officer. Jeff Chandler plays the commander of the fort he is taken to. The star studded cast includes some great character actors, and their talents aren't wasted.At the fort, Chandler quickly becomes the antagonist. His character resembles Henry Fonda's commander in FORT APACHE, obviously on purpose. In ways, this is almost a remake as far as characters go, but with a different story line.A damsel in distress, the widow of Chandler's brother, killed in a battle in which Cotton took part, makes for high tension and high drama.Later on, Chandler captures the head honcho Apache's son, and when the Apache chief demands his son's release, Chandler kills the son.The other parts of the plot, I won't spoil. What we get are very identifiable three dimensional characters in great Western action. The fifties were the golden age for good reason. Great characters. This is a prime example. The two main antagonists both climax with acts of honor, one in supreme sacrifice, and one in relenting against a massacre for the sake of justice.Compare these characters to the one dimensional clichés of Leone debacles, cardboard cutouts who do nothing but hate and kill, of the caricatures of "Tombstone" and other garbage, and there's no comparison. This film is so superior, it boggles the mind.It took Hollywood four decades to realize their mistake, and now we at least see some Westerns that deal with credible characters, such as the ones you'll see Robert Duvall in. The difference is that this golden age dealt in splendor, scenery, and cinema, while the modern Western aims for total realism. While the modern Western has value, I still prefer the spectacle of cinematic glory and color to the modern dullness and dust. Both are good, but this type is more uplifting, and gives you the energy to get more done, so I give these films an edge.Excellent acting, great scenery, directing, everything you could want, but my two chief criteria, writing and characters, are both of high quality here, too. This film is an example of "great characters make great films".

This gritty western is a post-Civil War affair set in New Mexico where soldiers of the Blue and the Gray are obliged to let bygones be bygones and tame the wild frontier for westward expansion. The usual antagonisms are present in abundance, with Union officers reluctant to trust the Confederate troops and question their allegiance to the United States. A top cast is headed by Joseph Cotten and Jeff Chandler, who constantly spar with each other about men, munitions and how to meet the Indian threat. Linda Darnell is the lone femme in the cast and her presence sparks romantic interest and jealousy in equal measure at the army post. The Yank-Rebel forces manage to put their bickering aside to defend against an Indian attack that remains one of the best ever filmed. The black and white lensing is good and enhances director Robert Wise's fine film.