John Ford’s final western film, Cheyenne Autumn (1964), has not received the critical or popular reappraisal that many of his other films were to achieve. Even the most favorable reviews tend to be measured in their praise, and mostly regarding the Oscar-nominated photography of William Clothier. This film was released in an era of overlong widescreen epics, many of whose runtime exceeds their value. But it is still a disappointment to witness the ambling structure of the episodic narrative coming from John Ford, whose best films are so often perfectly proportioned. A mere two years before Ford had released The Man who Shot Liberty Valance, a film that is vastly superior in pacing, characterization, and exploration of its chosen theme. Though Liberty Valance did not benefit from the majestic location footage in Ford’s beloved Monument Valley, it still manages to give a greater and more epic story in a similarly elegiac mood.
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