Film Review: Cheyenne Autumn (1964)

When a film director achieves legendary status through a prolific career, he may find himself in a position to create works that resonate more personally than broadly with audiences and critics alike. This notion is particularly salient when considering John Ford's Cheyenne Autumn (1964), his penultimate film and a notable entry in the Western genre. Here, Ford appears to indulge in a deeply personal narrative that reflects his evolving perspective on Native American history, yet the film's execution raises questions about its effectiveness and relevance.

Cheyenne Autumn is adapted from 1953 book of the same name, authored by Mari Sandoz, an esteemed historian of the Old West, which chronicles the Northern Cheyenne Exodus—a significant event in Native American history. Additionally, the screenplay draws inspiration from The Last Frontier*, 1941 novel by Howard Fast, author known for his left-wing views.

The film opens on September 8, 1878, within the confines of the Southern Cheyenne Reservation, located in present-day Oklahoma. Here, a band of Cheyennes finds themselves displaced from their ancestral lands near Yellowstone under the false promise of sustenance and support. As they await a Congressional delegation that never arrives, their leaders—Little Wolf (played by Ricardo Montalban) and Dull Knife (played by Gilbert Roland)—resolve to escape the reservation and return north. Accompanying them is Deborah Wright (played by Carroll Baker), a Quaker schoolteacher who volunteers to care for Cheyenne children. This decision complicates matters for US Army Captain Archer (played by Richard Widmark), Deborah’s fiancé, who is tasked with recapturing the Cheyennes. The exodus unfolds over several months, during which the Cheyennes demonstrate their prowess as warriors by successfully engaging in skirmishes against their pursuers. However, as winter approaches and resources dwindle, internal divisions emerge; Dull Knife’s group ultimately surrenders to US Army at Fort Robinson while Little Wolf continues his journey. Captain Archer’s disillusionment grows as he witnesses the maltreatment of the Cheyennes at the hands of Captain Wessels (played by Karl Malden), prompting him to seek intervention from Secretary of Interior Carl Schurz (Edward G. Robinson). Tragically, before any assistance can be rendered, Dull Knife’s followers attempt a breakout from the fort, culminating in further violence.

In an interview with Peter Bogdanovich, Ford expressed that Cheyenne Autumn served as a form of atonement for his previous depictions of Native Americans as bloodthirsty savages in earlier Westerns. Throughout his career, Ford had collaborated with Native American communities and developed an appreciation for their perspectives on Old West history—one that is not a tale of progress but rather one marked by genocide and oppression. In this light, Cheyenne Autumn emerges as an ambitious attempt to convey this perspective through an epic lens akin to those that solidified Ford's legacy.

Despite Ford’s noble intentions, Cheyenne Autumn ultimately falls short of expectations for a filmmaker of his stature. At first glance, it possesses many elements characteristic of Ford’s greatest works: compelling action sequences, stunning vistas captured in Monument Valley through William Clothier’s Oscar-nominated cinematography, and an evocative score by Alex North. Ford’s portrayal of suffering among the Cheyennes is stark and unflinching; he does not shy away from depicting violence against women and children at the hands of US military and white settlers.

However, at 69 years old during production, Ford made several notable missteps that detract from the film's impact. The casting choices are particularly problematic; prominent actors such as Brooklyn-born Sal Mineo and Mexican actors like Montalban stand out among actual Navajo extras portraying Cheyennes. Furthermore, dialogue intended to represent the “Cheyenne language” is actually Navajo—an oversight that allowed playful obscenities to slip past censors unnoticed. The romantic subplot involving Archer and Deborah feels like an unnecessary distraction from the central narrative concerning the Cheyennes’ struggles. Moreover, Archer embodies what contemporary critics might label as a “White Saviour” archetype—a portrayal that risks undermining the agency of Indigenous characters.

While Cheyenne Autumn generally adheres to historical events surrounding the Northern Cheyenne Exodus, it selectively omits certain realities that complicate its narrative. By replacing one stereotype—the “bloodthirsty savage”—with another—the “noble savage”—the film glosses over instances of killings and rapes perpetrated by Cheyennes against white settlers during their exodus.

The screenplay by James R. Webb also suffers from an overreliance on World War II and Cold War stereotypes that dilute its historical authenticity. For instance, First Sergeant Wichowsky draws parallels between Native Americans’ plight and plight of his native Poland under Russian Cossack rule. Similarly, Captain Wessels is portrayed as an insane alcoholic German officer—a choice seemingly designed to evoke Nazi associations—despite Wessels’ historical background as a Connecticut native who sought diplomatic solutions at Fort Robinson until it was too late. In contrast, Carl Schurz, is depicted as an enlightened statesman speaking with an impeccable American accent despite being a German immigrant himself.

Perhaps most jarring is an absurd comedic interlude set in Dodge City featuring historical figures Wyatt Earp (played by James Stewart) and Doc Holliday (played by Arthur Kennedy). This segment appears to serve no purpose other than to extend runtime while lightening an otherwise somber narrative tone. The miscasting of Stewart—who is clearly too old for his role—further exacerbates this tonal dissonance; it feels akin to interrupting a Holocaust film with light-hearted scenes from a 1942 nightclub performance in New York City. Ford’s desire to include friends in this segment detracts from the overall gravitas of Cheyenne Autumn, making one wonder how much worse it could have been had he followed through initial plans for fan service in form skinny-dipping scene featuring Carroll Baker.

Despite its well-meaning intentions and its status as one of the first films attempting to portray Indian Wars from a sympathetic perspective towards Native Americans, Cheyenne Autumn feels dated when juxtaposed against more nuanced or radical films like Little Big Man or Soldier Blue. Critics such as Marlon Brando have lambasted it for failing to adequately represent Indigenous experiences or challenge prevailing stereotypes effectively. In comparison with Oscar-winning films like Dances with Wolves, which approached similar themes with greater skill or radicalism, Cheyenne Autumn struggles to maintain its relevance in contemporary discussions surrounding representation in cinema.

While John Ford’s Cheyenne Autumn represents an earnest attempt at addressing historical injustices faced by Native Americans during westward expansion, it ultimately falters due to its reliance on outdated tropes, miscasting choices, and narrative inconsistencies.

RATING: 5/10 (++)

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