Fort Apache (1948)

 John Ford's "Fort Apache"

In this entry into the John Ford oeuvre, "Fort Apache" continues in the exploration of the untamed west as it contrasts to the tight, restrained modernist society. This time around, Ford spends less time in the dangerous west and more time in the claustrophic, rule centered, tamed society. Not only this, the film marked a far more expansive, sympathetic perspective on the Native American community. However, the primary focus is on the white American military, as they navigate a new commanding officer. In this classic Western, Ford demonstrates his push and pull between order and freedom. 

During the second World War, John Ford served as head of the photographic unit for the Office of Strategic Services and made documentaries for the Naval department. Because of this, Ford witness much of the violence and horror that often comes with wartime. After returning to Hollywood, his 1946 film, "My Darling Clementine" seemed to mark a shifting dynamic in Ford's individual vs society interplays. With "Clementine," Ford seemed to lean in the direction of society, demonstrating the need for society to tightly keep law and order. This law and order was necessary to combat unrestrained chaos. However, in "Fort Apache," Ford takes Frank S. Nugent's script and demonstrates how that law and order can go too far in the other direction. 

The plot of the film is relatively simple. Hard-nosed, militant US Cavalry Lieutenant Colonel Owen Thursday (played by Henry Fonda) has been brought in to Fort Apache, much to the chagrin of everyone stationed at the post. The regiment was expecting veteran Captain York (played by John Wayne) to take command. The two commanders are very much at odds with each other, as Captain York is far more laid back and empathetic towards his troops, and even towards the neighbording Apaches. Colonel Thursday, on the other hand, is far more strict and stringent. He is constantly pointing out the troops dress code errors, never allowing the troops any leeway, and consistently butting heads with everyone around him. A point of conflict becomes immediate in the film when Colonel Thursday takes his commitment to the military too far when he orders the attack on the peace-seeking Apaches. Far outnumbered, the mission is a suicide mission from the start, as Captain York warns. However, Colonel Thursday leads his troops into battle, dying there. 

What is important to note about the film is how the Apache tribe is depicted. The standard behavior of a Native American in the typical Western genre film is that of a savage. Most often depected as either faceless enemies or craven, blood-thirsty barbarians, "Fort Apache" suberts this typical trope. The Apaches in the film simply want peace and are even great communicators of their intentions and expectations. Captain York often treats them with understanding and sympathy, while Colonel Thursday has a vile, racist attitude towards what he calls, "savages." The apparent distinction in the perception of these two men calls out the extreme representation of the Native American in American film. For one the first times, the Native Americans are not the instigators of war and violence, but rather the white Americans. 

Ford's direction of the film is tied to his interpretations of the human behaviors inside restrictive society. What becomes apparent when watching the film is the relationships that exists betweent the characters and their modern, civilized, buttoned-up world. The comedic characters that make up the lower ranking troop members, such as Sgt. Festus Mulcahy, have a tempestuous relationship with their structure. They are often shown being disorderly, both in their behavior and in their appearance. They are often not wearing their uniforms properly and can be found sneaking off getting drunk. Both the visuality and conduct of their person is one of disconnection. On the far other end of the spectrum, Colonel Thursday has an obsessive relationsip with order and conduct. The colonel can awlays be seen in the proper attire, speaks in a definite manner, accosts those who do not adhere to proper cavalry code, and follows procedure to a direct T. The manner in which he moves and speaks is always direct, and his behavior is always predictable. This becomes all the more frustrating when he overexents his command by leading his troops to certain death. Captain York, on the other hand, is a perfect balance between the two extremes. York is always accomodating to both his laxed soldiers, as well as his severe commander. The balance between the two allows him to adhere to proper etiquette and discipline, while maintaining a sense of understanding to the complexity of certain sitations. This allows him the empathy and carefullness to safely manage the Apache situation, until that stability is ruined by Colonel Thursday. Ford is able to use these relational interplays to create a visual dynamic between characters and their social structure.

Once the characters are removed from their social structure, their decisions become all the more exestential. While in the safety of their post and community, their behavior and actions only come at the cost of interpersonal relationships. These relationships are presented in the visually claustrophobic interiors enabled by Ford, as if to suggest that their conduct is only restricted to the societal empire they've been clinging to. Once they leave their haven of comfort and order, their actions become all the more consequential. While in the ordered walls of their community, Colonel Thursday's behavior can only be confined to those who associate themselves with that order. Once in the battlefield of the wild, his behavior has life and death consequences for everyone involved. Ironically, once in the untamed wild, it is the more adaptable Captain York that offers better solutions. To film the expansiveness of their actions, Ford utilises the black and white cinematography of the beautiful sunny sky. He also places the characters in front of the monoliths of Monument Valley, where the picture was filmed. These landscapes offer naturalistic backdrops of their exestential actions. The grand mammoths of terrain echo the monumental ventures of the characters.

The film came out to wild success. Despite the success, Ford emplored that the picture was more in line with something to entertain, rather than something to compemplate. However, with the apt hand of Ford, the excitement and exploitation of the Old West can be turned into explorative dissections of American values.