I never thought I'd be using a word like "charming" in connection with a Western. But the first half of Wagon Master strikes me as just that, charming. The colorful characters and set-ups blend together in shrewdly affable fashion. Of course, the opening hook features brief gunplay, but that's just to let the audience know that the movie will include traditional bad guys. Actually, there's much less gunplay than expected, though the second half is more tension filled than the first. Still, the eventual showdown is de-dramatized in atypical fashion. To me, Ben Johnson makes an excellent westerner. His regional accent is perfect. He may not be a John Wayne icon, but neither does he compete with the story. After all, the wagon train's success amounts to a collective effort and not that of a single heroic figure. Also, Carey Jr. makes a good headstrong sidekick, good for a chuckle or two. And, yes, that is a young,, naturally blond, James Arness as one of the Cleggs, even if without any dialog. Two things I really like about this Ford Western. The characters are colorful without becoming caricatures, plus the fact that it's filmed in b&w. Now, Technicolor would bring out the awesome beauty of the Moab locations, but also distract from the storyline. The b&w photography here is excellent, but has the important effect of bringing out the majesty of the surroundings without competing. It's a perfect setting for the movie's theme of a new land for a peaceable Mormon people. Note too, how the Navajo are treated with respect, and even acknowledged as victims of white men's thievery, but without piling it on. Note too that except for the opening scene the entire movie was shot on location. A real outdoor Western.All in all, Ford blends the many elements together beautifully. In my little book, the result should be more celebrated among his canon than it is. I know it's my favorite among the many Ford Westerns I've seen.

The perfect double bill for the 1940 20th Century Fox classic "Brigham Young, Frontiersman", this John Ford western is a fast moving and action packed follow-up to that story of a group of Mormons heading into dangerous territory with a family of vile murderers and thieves on their trail. The moment the Clegg family slithers into their camp you know something is up because of the sudden mood of merriment changing into a somber atmosphere. This slimy looking clan is wanted by the Fed's, and it is obvious that when they innocently ask for food from the traveling caravan that there is going to be trouble in the wake of their arrival.Charles Kemper is the slimy patriarch of the Clegg clan (which includes a young James Arness), and he is certainly one of the most unforgettable villains in westerns. Ben Johnson gets the leading hero role here, someone who only draws his gun on a snake, which he certainly will need to do here. Harry Carey, Ward Bond and Jane Darwell are among the elders of the group, joined by non-Mormans Alan Mowbray and Joanne Dru, a shapely woman of ill repute who has the Mormon women watching their husbands very carefully. Jim Thorpe, as in "Jim Thorpe, All American", plays a member of the Navajo tribe the group encounters. Ford presents the Navajos as distrustful of white men because of bad deals they made with others, and amusingly, when the Navajos discover that the group are Mormons, they refer to them as only partly dishonest as opposed to the other group they encountered before.A disturbing sequence has one of the Clegg men being whipped for obviously having just raped a Navajo woman, and as the Morman elders try to convince papa Clegg, it's better for his son to be whipped than the rest of them be scalped. It's nice to see the Navjos presented as a friendly tribe whose efforts to befriend the white man in previous encounters has only lead to betrayal from the supposedly more civilized Caucasians. When the Mormans, having been held at rifle point by the Cleggs, encounter the Feds, the mood becomes intense and they must make some quick decisions in order to avoid bloodshed while being questioned. These seemingly simple non-violent people prove themselves to be pretty crafty, and they realize obviously at some point, they are going to have to resort to violence to keep themselves from being annihilated by the Cleggs which comes none too soon.John Ford really was the master of the western, having in recent years proved his medal with such classics as "Fort Apache", "Red River" and "She Wore a Yellow Ribbon". This one actually is made more memorable by the absence of John Wayne because this is much more an ensemble piece where everybody is either a hero or villain and the focus isn't on just one character. This also has a very memorable musical score and some extremely intense moments, particularly one where they desperately try to get the covered wagons over a dangerous cliff that certainly isn't covered wagon friendly. This is a film that even non-western fans can enjoy because it is very unique in its storytelling and features a very interesting premise not usually associated with the common man's western.

An underrated western by John Ford, "Wagon Master" watches as a group of Mormons trek their way toward Utah. They're led by Travis Blue (Ben Johnson) and Sandy Owens (Harry Carey), a pair of horsemen who know the terrain well.As he does in "Drums Along the Mohawk", Ford sculpts "Master" into a giant statement on "what it means to be American". In this regard, Americans are portrayed as bands of ostracised folk who are "pushed out of town" and who must learn to "survive in the wilderness". Here a nation's endurance depends on ordinary folk learning to work together, reconcile disparate agendas, and deal tactfully with other cultures, groups and persons of an "unscrupulous disposition". For all its nods to consensus building, however, and despite its positive portrayal of American Indians (reversing the stance of Ford's "Mohawk"), the film ultimately defers to the law of the bullet; drift too far outside the community, and you will be shot.At its best, "Master" indulges in a number of beautifully relaxed, low-key sequences. These scenes watch as new communities are built, pioneering spirits mesh and different groups (Mormons, criminals, Indians, horse traders, lawmen, prostitutes and show-people) come together. As a jovial myth, the film works well, but there's something dubious about the way Ford's cohesiveness depends on "Wagon Master's" violent opening scene, in which the film's villains announce themselves as bloodthirsty bogeymen.7.5/10 - Worth one viewing.

This movie is a typical John Ford effort, which is a good thing. It's main difference is that it doesn't have a dominant starring leading man.Here's what I liked:Ben Johnson is great in this. He should have gotten more work, especially with Ford. I forget when, but they had a big falling out not long after they made this movie. Johnson wouldn't tolerate Ford's abusive behavior and walked off a set. Ford never hired him again. What a shame. He's the best thing about this movie.I just love the little unique world Ford creates in his movies. Yes, it's all a little hokie, but somehow he pulls it off. There's always a special warmth and humanity to Ford's films you just don't see anywhere else.The heavy is very well played by Charles Kemper (who sadly died in a car accident soon after the film was released). Just as good are his evil brood of four dim witted sons, including an interesting early role by James Arness.Great stunt work with the horses and wagons.Almost all of the rest of the supporting cast is excellent. Nice to see Alan Mowbray reprise his drunken thespian character from "My Darling Clementine". Joann Dru is growing on me. Even Harry Carey Jr., who is normally annoying, is good in this.The Indians are well handled. Nice little bit about how dancing can bring different types of people together. Once again the evidence of Ford's movies contradicts complaints about his alleged racism.Here's what was not so good:Ward Bond is absurdly miscast as a Mormon spiritual leader. This must have been a joke by Ford, who was Bond's carousing drinking buddy in real life."Town" Westerns are OK in black and white. It's just no good for desert landscapes.There's just not much to the plot. "Mormons on wagon train. Heavies ride along and threaten them. They kill heavies."