Poorly received and unceremoniously dumped by MGM this cinematic swansong from John Ford is unique in his output as it is devoid of the sentimentality that can mar even his best films and at the same time passing the Bechdel Test with flying colours.
Anne Bancroft, a last minute replacement for the tragically indisposed Patricia Neal and who was unfairly described by Ford as 'the mistress of monotone', is magnificent as a free-thinking, outspoken, atheistic doctor whilst Margaret Leighton excels in the difficult role of a deeply religious woman who veers between repressed Sapphic desire and sanctimonious disgust.
The 'rooster in the henhouse' is played by Eddie Albert and any actor who has to utter the line "How could I get my wife pregnant at a time like this?" deserves our deepest sympathy.
Ford regular Woody Strode is once again a strong presence whilst Mike Mazurki as a Mongolian bandit chief is alas a cartoon character.
Ford has come full circle here as his editor is Otho Lovering who had worked with him on 'Stagecoach'.
It as been said that Ford's career comprises mountain peaks and desert valleys and whether this opus qualifies as either a high or a low is of course down to the individual viewer. There are certainly worse films to go out on and the wonderful last line is one that Ford himself must surely have relished: "So long, ya *******!"
Anne Bancroft, a last minute replacement for the tragically indisposed Patricia Neal and who was unfairly described by Ford as 'the mistress of monotone', is magnificent as a free-thinking, outspoken, atheistic doctor whilst Margaret Leighton excels in the difficult role of a deeply religious woman who veers between repressed Sapphic desire and sanctimonious disgust.
The 'rooster in the henhouse' is played by Eddie Albert and any actor who has to utter the line "How could I get my wife pregnant at a time like this?" deserves our deepest sympathy.
Ford regular Woody Strode is once again a strong presence whilst Mike Mazurki as a Mongolian bandit chief is alas a cartoon character.
Ford has come full circle here as his editor is Otho Lovering who had worked with him on 'Stagecoach'.
It as been said that Ford's career comprises mountain peaks and desert valleys and whether this opus qualifies as either a high or a low is of course down to the individual viewer. There are certainly worse films to go out on and the wonderful last line is one that Ford himself must surely have relished: "So long, ya *******!"