IMDb RATING
7.1/10
5.5K
YOUR RATING
Two young drifters guide a Mormon wagon train to the San Juan Valley and encounter cutthroats, Indians, geography, and moral challenges on the journey.Two young drifters guide a Mormon wagon train to the San Juan Valley and encounter cutthroats, Indians, geography, and moral challenges on the journey.Two young drifters guide a Mormon wagon train to the San Juan Valley and encounter cutthroats, Indians, geography, and moral challenges on the journey.
- Director
- Writers
- Frank S. Nugent
- Patrick Ford
- John Ford(uncredited)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaIn the scene where Sandy (Harry Carey, Jr.) and Jackson (Chuck Hayward) fight, the fight is broken up by Elder Wiggs (Ward Bond). Bond has ripped pants as he separates the fighters, and you can hear a dog barking in the background. This happened because Director John Ford wanted to use two dogs, that had been ruining every scene in the film by fighting, in the background as the men fought, hoping the dogs would start fighting as a contrast to the men fighting. Instead of fighting, however, one of the dogs ran away, and the other attacked Bond and ripped his pants. Ford could barely contain his laughter, but kept filming. Afterward, he became quite concerned and said they needed to find the dog, in case it had bitten Bond, not just ripped his pants. Ford was worried the dog might have needed a tetanus shot.
- GoofsWhile the peaceful Mormon homesteaders may not have been carrying sidearms, that they would also not have rifles and shotguns (for hunting and protection from animals) seems unlikely. Certainly 19th century Mormons didn't have an aversion to firearms - one of the greatest gun designers in history, John M. Browning, was a practicing Mormon.
- Quotes
Uncle Shiloh Clegg: You boys ever draw on anybody?
Travis Blue: No, sir. Just snakes.
[later, after Travis shoots Clegg]
Elder Wiggs: I thought you never drew on a man?
Travis Blue: That's right, sir. Only on snakes.
- ConnectionsEdited into Trail Guide (1952)
- SoundtracksWAGONS WEST
Words and Music by Stan Jones
Recorded by Sons of the Pioneers (as The Sons of the Pioneers)
Sung (behind credits) by the Sons of the Pioneers (uncredited)
Featured review
Film-as-poetry
One of the most poetic narrative films ever made, WAGONMASTER is nonetheless a difficult film to immediately like. I love this movie, but I recommend seeing some of John Ford's other westerns before taking a look at this one. The first time I saw it I was 18 years old and I hadn't seen too many other westerns, and I hated it. I thought it was incredibly boring. I kept waiting for something to happen. It took several years for me to love this picture. First, I fell in love with westerns in general -- the traditions, characters, landscapes, ways of talking, etc -- and that made me realize when I saw WAGONMASTER again that a lot is happening in it after all.
I also was simply a more experienced moviegoer at that point and had learned to appreciate visual storytelling, and to listen to what each image was telling me. WAGONMASTER is a very visual movie by one of the most visual of directors working near the peak of his career.
The movie is a celebration of a way of life, and its subject matter is more emotional and interior than other Ford westerns. Actually, that's not really as accurate as saying that, rather, it has a lot less exterior action than the other westerns. (The other westerns have exterior action AND interior emotion.) It quite beautifully places its Mormon pioneers in the context of nature. There are many shots of animals and children -- not for any surface, narrative purpose, but for illustrating this idea. That is why the movie can be called a poem. It isn't about the surface story (which barely exists) nearly as much as it is about an emotional idea, and it gets this idea across through composition, editing, sound and music. In fact, one could argue that this is a purer form of filmmaking because the images directly express the emotional idea of the film, rather than having to first service a "story."
Give this movie a chance, and allow it to exist on its own terms, not the terms of other westerns or other movies.
I also was simply a more experienced moviegoer at that point and had learned to appreciate visual storytelling, and to listen to what each image was telling me. WAGONMASTER is a very visual movie by one of the most visual of directors working near the peak of his career.
The movie is a celebration of a way of life, and its subject matter is more emotional and interior than other Ford westerns. Actually, that's not really as accurate as saying that, rather, it has a lot less exterior action than the other westerns. (The other westerns have exterior action AND interior emotion.) It quite beautifully places its Mormon pioneers in the context of nature. There are many shots of animals and children -- not for any surface, narrative purpose, but for illustrating this idea. That is why the movie can be called a poem. It isn't about the surface story (which barely exists) nearly as much as it is about an emotional idea, and it gets this idea across through composition, editing, sound and music. In fact, one could argue that this is a purer form of filmmaking because the images directly express the emotional idea of the film, rather than having to first service a "story."
Give this movie a chance, and allow it to exist on its own terms, not the terms of other westerns or other movies.
helpful•5215
- amolad
- Mar 8, 2001
- How long is Wagon Master?Powered by Alexa
Details
Box office
- Budget
- $999,370 (estimated)
- Runtime1 hour 26 minutes
- Color
- Aspect ratio
- 1.37 : 1
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