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Western, Drama 115 min R
Rotten Tomatoes38%IMDb
The most savage film in history!
After a cavalry group is massacred by the Cheyenne, only two survivors remain: Honus, a naive private devoted to his duty, and Cresta, a young woman who had lived with the Cheyenne two years and whose sympathies lie more with them than with the US government. Together, they must try to reach the cavalry's main base camp. As they travel onward, Honus is torn between his growing affection for Cresta.
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Overwhelming, bleak, plot-driven and demanding.
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Written by TMDB members; each links to the original. Not part of Taste Buds's numbers.
**_Playful Western Romance sandwiched between two brutal massacres_** After a paymaster cavalry unit is slaughtered by the Cheyenne in 1877, a surviving soldier and Indian sympathizer team-up to get back to the nearest fort (Peter Strauss and Candice Bergen). The young man struggles with contempt for what he considers a treasonous attitude along with his growing affection for the brash woman. Then he sees the awful truth firsthand. "Soldier Blue" (1970) is an entertaining, but odd Western. At heart, it’s a fun romance between a patriotic military man and a profane “free-spirit” who is able to survive the challenges of the American wilderness precisely because she has shed Victorian inanities. This is bookended by a Cheyenne-led massacre on a non-threatening cavalry group and the military massacre of a peaceful Cheyenne camp, filled with women and children. The latter is obviously based on the Sand Creek Massacre of 1864. I respect that the movie shows how massacres happened on both sides, but it stacks the deck against the Caucasian militants by showing them butchering women & children and not vice versa. The opening Indian attack ensures that the viewer's sympathies are with Honus
Read the whole review on TMDBThe R-rated cut of SOLDIER BLUE (1970) contains 100 minutes of a G-rated romance, bookended by 15 minutes of graphic, blood-soaked atrocities. Director Ralph Nelson doesn't pull any punches; disfigurement, immolation, decapitation, and impalement (amongst other acts of barbarity) splash across the screen - often in Sam Peckinpah-style slow motion. These opening and closing scenes have power; the problem is the 100 minutes we have to spend with the one-dimensional survivors of the initial Indian assault. Candice Bergen and Peter Strauss are given generic, facile characters to interpret; one is naive, one is worldly (of course); one is prudish, the other permissive (surprise); they gradually develop feelings for one another (if you didn't see that coming...). Donald Pleasance eventually shows up for some much needed variety, but it's not enough. If you're a fan of violent western-style action, you'll enjoy some of this. If you're fond of budding romance pics, then the love story might engage you. Everyone else would probably be better served by watching LITTLE BIG MAN (1970) again.
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