Cattle Queen of Montana (1954)

Cattle Queen of Montana (1954)

“I’m here and I’m going to stay here!”

Synopsis:
After her father (Morris Ankrum) is killed during a Blackfoot raid and their property deed is stolen by a dastardly rival (Gene Evans), an injured cattle rancher (Barbara Stanwyck) remains determined to secure their rightful land in Montana, despite warnings from a hired gunman (Ronald Reagan).

Genres, Themes, Actors, and Directors:

  • Barbara Stanwyck Films
  • Native Americans
  • Ronald Reagen Films
  • Strong Females
  • Westerns

Review:
It’s unclear exactly why Peary lists this Allan Dwan-directed oater in his GFTFF, other than the co-starring of Stanwyck — who is fine (of course) in the title role as a tough gal who won’t be bullied into submission — and then-president Reagan.

A subplot about the rivalry between a rebel named Natchakoa (Anthony Caruso) and a college-educated Blackfoot named Colorados (Lance Fuller):

as well as the jealousy felt by a woman (Yvette Duguay) who has her heart set on Colorados, and believes Stanwyck is in her way:

takes up some time, but basically this is a standard shoot-em-up flick between ranchers-and-Indians, with some pretty hoary dialogue (“When that girl gets an idea, she’s just as stubborn as a mule with a broken hind leg.”). The amount of anti-Indian rhetoric is notable for its blatant racism, and serves as a potent reminder of where we’ve come from:

“A white woman with an Indian? I can’t believe it!”
“There’s only one reason why a white woman takes up with an Indian — and it’s got a mighty nasty name.”
“My nose can’t stand being anywhere near an Indian lover.”

Redeeming Qualities and Moments:

  • John Alton’s cinematography

Must See?
No; you can skip this one unless you’re a Stanwyck fan.

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One thought on “Cattle Queen of Montana (1954)

  1. First viewing. Not must-see – but fans of westerns will want to check it out.

    An ultimately compact, 85-minute story that seems to start out in a slow, standard fashion but actually has a slow-burn. It gets better as it goes along and includes at least several potent sequences. Perhaps what’s most interesting is the way it handles the White/Indian conflict; it makes a concerted effort in presenting all sides, to not only illuminate the reality of treaties but also to break down shady details between whites and Indians as well as inter-conflicts / feigned loyalties involving whites against whites, Indians against Indians, whites against Indians and Indians against whites (~ all of which is better than designating Indians as the ill-defined ‘baddies’).

    Stanwyck is dependable as always; Evans is an effective nemesis.

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