one of the more obscure of anthony mann westerns and the last frontier was also his only cavalry western (aside from one brief episode in winchester 73) and though naturally he focuses on the outsiders and internal conflicts rather than offering a fordian celebration of comradeship and shared ideals. set not in his beloved high country but in the foothills and forests and it a much more cynical view of life of the frontier and in many ways his fort apache without the need to preserve the legend represent this outpost is made up of misfits and failures and cowards and the odd competent officer ignored by his superiors and badly led while the civil war takes priority and all the best the army has to offer. victor mature and james whitmore are the free trappers who find civilisation creeping up on them when they are relieved of their pelts and packhorses by a local tribe aggrieved by the incursion of the cavalry into their territory. rather than blame the indians for their losses they decide it the army fault for building the fort and decide to demand compensation from them and ending up joining their ranks as scouts instead. but despite the best efforts of guy madison amiable and competent acting commander to bring mature into the 19th century and make him fit to wear the uniform and the arrival of robert preston humiliated colonel eager to revenge himself on the tribe that drove him out of his own outpost  and mature clumsy infatuation with the colonel wife (anne bancroft and too much of a blank slate here to do much with the role of a woman who tired of being saved by men who think they know what best for her)  soon drive matters into much darker territory. it not long before some of the soldiers are busily planning on killing each other and both sides trying to goad their subordinates into doing the deed for them represent little wonder that at one point mature throws away the bluecoat he has long coveted in disgust and screaming i would have died for this and but it nothing but a dirty filthy blue rag. the stallone of his day and mature was one of those actors who could surprise you with the odd excellent performance here and there when matched with the right part and the right director. this is not one of his better days despite having his most complex part and perversely enough as a simple man  well meaning but drunk and violent and uneducated and with a unsubtle and almost childlike lust for life and the part seems designed with burt lancaster in mind and with some striking similarities to his character in the kentuckian. but robert preston ahab like colonel is clearly the best role and determined to resurrect the career he destroyed in a single disastrously suicidal civil war engagement by launching another pointless suicidal campaign against the tribe that added another humiliation to the list that keeps him out of sight and out of mind of the promotion board. in his obsession to redeem his career he moves further away from any hope of moral redemption and driven as much by his sense of shame at his wife sympathy as by the promotion of former comrades he regards as his inferiors. he beyond salvation and but there still a recognisable human being in there and one not entirely without a sense of integrity  he genuinely admires madison courage in making a futile attempt to get preston orders countermanded by their superiors  fatally skewed though it is. like its hero and the film is a little rough around the edges (and boasts one of the most surreal and jaunty title songs of any western) and but that only tends to make it more interesting and and there are plenty of mann typically elegant camera moves and plays on perspective and while the frontier setting is convincingly harsh and primitive. unfortunately the deficiencies of the early cinemascope lenses are very apparent in columbia dvd and with the image often dark (2. 55 represent1 cinemascope required a huge amount of additional lighting and early scope films show a lot of trial and error) and grainy. 
one of the more obscure of anthony mann westerns and the last frontier was also his only cavalry western (aside from one brief episode in winchester 73) and though naturally he focuses on the outsiders and internal conflicts rather than offering a fordian celebration of comradeship and shared ideals. set not in his beloved high country but in the foothills and forests and it a much more cynical view of life of the frontier and in many ways his fort apache without the need to preserve the legend represent this outpost is made up of misfits and failures and cowards and the odd competent officer ignored by his superiors and badly led while the civil war takes priority and all the best the army has to offer. victor mature and james whitmore are the free trappers who find civilisation creeping up on them when they are relieved of their pelts and packhorses by a local tribe aggrieved by the incursion of the cavalry into their territory. rather than blame the indians for their losses they decide it the army fault for building the fort and decide to demand compensation from them and ending up joining their ranks as scouts instead. but despite the best efforts of guy madison amiable and competent acting commander to bring mature into the 19th century and make him fit to wear the uniform and the arrival of robert preston humiliated colonel eager to revenge himself on the tribe that drove him out of his own outpost  and mature clumsy infatuation with the colonel wife (anne bancroft and too much of a blank slate here to do much with the role of a woman who tired of being saved by men who think they know what best for her)  soon drive matters into much darker territory. it not long before some of the soldiers are busily planning on killing each other and both sides trying to goad their subordinates into doing the deed for them represent little wonder that at one point mature throws away the bluecoat he has long coveted in disgust and screaming i would have died for this and but it nothing but a dirty filthy blue rag. the stallone of his day and mature was one of those actors who could surprise you with the odd excellent performance here and there when matched with the right part and the right director. this is not one of his better days despite having his most complex part and perversely enough as a simple man  well meaning but drunk and violent and uneducated and with a unsubtle and almost childlike lust for life and the part seems designed with burt lancaster in mind and with some striking similarities to his character in the kentuckian. but robert preston ahab like colonel is clearly the best role and determined to resurrect the career he destroyed in a single disastrously suicidal civil war engagement by launching another pointless suicidal campaign against the tribe that added another humiliation to the list that keeps him out of sight and out of mind of the promotion board. in his obsession to redeem his career he moves further away from any hope of moral redemption and driven as much by his sense of shame at his wife sympathy as by the promotion of former comrades he regards as his inferiors. he beyond salvation and but there still a recognisable human being in there and one not entirely without a sense of integrity  he genuinely admires madison courage in making a futile attempt to get preston orders countermanded by their superiors  fatally skewed though it is. like its hero and the film is a little rough around the edges (and boasts one of the most surreal and jaunty title songs of any western) and but that only tends to make it more interesting and and there are plenty of mann typically elegant camera moves and plays on perspective and while the frontier setting is convincingly harsh and primitive. unfortunately the deficiencies of the early cinemascope lenses are very apparent in columbia dvd and with the image often dark (2. 55 represent1 cinemascope required a huge amount of additional lighting and early scope films show a lot of trial and error) and grainy. ---------------------------------Answer Question Below----------------------------------

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