Duel at Diablo (1966)

Such a frustrating disappointment

everything you have heard about this movie is true.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Lieutenant McAllister (Bill Travers) is ordered to transport ammunition through Apache territory with only a small troop of rookie soldiers to guard them. Along for the ride is ex-scout Jess Remsberg (James Garner) who is trying to track down Ellen Grange (Bibi Andersson) who keeps running off to the Apache and away from her husband Willard Grange (Dennis Weaver). Also there is Toller (Sidney Poitier) who is breaking in the soldier's wild horses.This is rough and tumble old fashioned western. The men are tough, and the Apaches are tougher. The landscape is even harder. All the characters are stock characters. The good news is that they are played by some of the best actors of all times.

"Duel At Diablo" had me thinking about Sidney Poitier's role, and I'd love to hear his reason for taking the assignment. Considering his appearance in one of my favorite films, "In The Heat Of The Night", a classic study of racism and cultural fear, I wondered how he reconciled the role of a former black military officer helping the cavalry protect a supply wagon through Apache territory, with all the attendant characterizations of the red man as a hostile, savage brute. But Toller (Poitier) did have character, as demonstrated by the apology to Remsberg (James Garner) after learning of his wife's fate, that was an excellent scene.Dennis Weaver surprised me with his portrayal of Will Grange, showing a range of ability that far surpasses my singular impression of him as Matt Dillon's deputy, Chester Goode. He figures in somewhat of a story twist when it's revealed that he had a hand in the death of Remsberg's wife. The showdown you were expecting for the entire film managed to play out in a manner that kept Garner's character honorable, even if revenge was served. It was an effective way to handle the conflict.You know, I'm surprised that an obvious continuity issue hasn't been noted yet regarding the picture. When Remsberg leaves the soldiers for Fort Concho, he's riding a gray horse across the desert, but in the scene when the horse collapses from heat exhaustion, it's brown. A similar error occurs in the Western "Comanche Blanco" near the finale when William Shatner's horse changes color. It makes me wonder why film makers, or even the principal actor, can't remember how the scene started out so it can be finished without an obviously conflicting ending. They must have other things on their mind.At least it was gratifying to see that mathematical accountability came into play regarding the strength of both the Indian band and the cavalry. As the soldier forces dwindled, references were made to that effect, and you had a sense of the attrition. Contrast that with other Westerns where it often seems like one side or the other winds up with just as many men as they started with.You know, it wouldn't have taken much to turn this one into a John Ford/John Wayne cavalry Western. Most of the elements were there except the peaks of Monument Valley and a romantic interest for the leading man. Still, the inclusion of Ellen Grange (Bibi Anderson) as a conflicted white woman with an Apache baby added another layer of intensity to a film already chock full of angst driven characters. You knew she would make it to the end of the story, the question being, at what price.

The Military Adviser - if they had one - either wasn't listened to, or else he did not provide accurate advice. In the first place, the Cavalry officer is wearing incorrect Shoulder Boards - they did not have the proper frame that is standard on US Shoulder Boards - and they didn't have his Lieutenant Bars mounted. Each board should have two Lieutenant Bars - one at the front edge and the other at the back edge.Next of all, the bugler didn't know his calls at all - he just put out a lot of noise, with a few calls approaching correctness but never achieving it.The uniform the cavalrymen are all wearing is a mix of early post-civil war and late post-civil war. The Lieutennant is wearing a double Breasted shirt which is early post Civil War, while everything else he is wearing is from a much later period. Since it is impossible to know if he is a First or Second Lieutenant since he is wearing no bars, it is impossible to know if he is wearing the shirt because he purchased one when he first joined up (1st Lieutenant)(Officers buy their uniform items), or is wearing one because the Wardrobe person got the uniform wrong (2nd Lieutenant). The hat is definitely late 1800's. Early post-civil war cavalry officers still wore the Kepi.The collar of the shirts on the soldiers is an Attached Collar - as is the collar on everyone else. Attached collars did NOT become common until the 20th Century.

Lieutenant McAllister and a raw recruit of soldiers have to travel through Apache territory to deliver some much need ammunition to the awaiting Fort Conchos. Scout Jess Remsberg tags along with revenge on mind and horse broker / former trooper Toller who unwillingly receives an order to ride with them to finish off breaking the horses, if he wants the rest of his money. However McAllister and his small party find themselves trying to survive an Apache onslaught led by Chata, as the lady Ellen Grange that Jess rescued from the Apaches has something of importance to the chief.A competently well-made and satisfying western that's highlighted by the prominent cast and exhilaratingly taut and unsparing action sequences. Ralph Nelson smoothly paces this drum-beating foray, with its adeptly bold and old-fashioned direction. His professional touch lifts the screenplay. Going a long way to giving it a real bravado feel amongst the gritty, dusty and sprawling rocky terrain, which is masterfully framed with a lot of ticker and claustrophobic channelling by cinematography Charles F. Wheeler. The main feature of the film that strikes a chord, has got to be composer Neal Hefti's effectively novel, melodic score that seems to match and illustrate the sequences and overall feel rather well, despite the uncanny tone for this type of film. I found the dynamic cues to be rather contagious. Albert and Michael M. Grilikhes' open screenplay (which is based on the Marvin Albert's novel, "Apache Rising") is pretty much to the point and a little lacking by simply going through the motions. But even with those vague moments, it still thrives on well-rounded dialogues from its sturdy script. In there are configurations of racism, and the unfair treatment of the Indians, but it's the personal confrontations and torment that makes for one gruelling exercise. It never lets any of this get carried away, but the starkly harsh nature stays throughout. The performances are richly devised, to stew up depth and realism due more to their favourable acting than in the way of the material. James Garner's winningly focused performance as rugged, seldom Jess is first-rate. Sidney Poitier classy turn as Toller is a different stroke and admirably good one. Bill Travers' growing performance is very strong and humane. Dennis Weaver eclectically solid. Bibi Andersson was mildly okay, but was hindered and the modest John Hoyt didn't see enough time as Chata.Dated, but a well handled, compelling and tough as nails western, which finally shines through.