Dark Command

Die-hard fans relish the opportunity to watch John Wayne and Roy Rogers in the same film, but the real pairing to treasure is that of the Duke and Claire Trevor. The duo followed up the smash hit “Stagecoach” with two more quality pictures: “Allegheny Uprising” and “Dark Command.” Written by three hacks and shot by a DOP with over 200 (!) credits to his name, “Dark Command” will surprise you with its high quality entertainment value, complex plot and rich detail.

Based on the true exploits of one Will Quantrill, a slave/gun-running, village-looting criminal mastermind who posed as a schoolteacher and a confederate soldier in Lawrence, Kansas, “Dark Command” is about as historically accurate as JFK. I didn’t care, and I’m sure you won’t either: if the real world had John Wayne and Roy Rogers to swoop in and save the day it would probably be a much better place, and most certainly more cool-ass.

Every character is fully developed, a minor miracle considering the sheer number minds tinkering with the script. Gabby Hayes has one of his best roles as a doctor who’s lost his confidence, turning to teeth-pulling and hair-cutting to make a living. Roy Rogers is the young, naive stud who’s desperate to carry a gun and live the cowboy life, Trevor plays his sister, who falls in love with Wayne but marries the bad guy Quantrill, played rather stiffly by Walter Pidgeon.

And then there’s the Duke. Here he gets to play one of his friendliest characters--good natured and sweet, a lover not a fighter. Of course everyone makes him fight, which makes for typically fine action and a truly thrilling climax. Wayne is so even-keeled in this film he actually takes the time to learn how to read and write, and declares his love for Trevor not once or twice, but three times. In short, if you’re not charmed by the Duke in “Dark Command,” it’s time to give up on westerns.

“Outside of a snort of hooch I ain’t got no bad habits.” Thank you God, for giving us John Wayne.

The cinematography is crisp and often striking, surely one of Jack Marta’s finest moments. Marta would go on to shoot many of Roy Rogers’ films and dozens of other westerns including the uniformly excellent “Cat Ballou.” Director Walsh keeps everything moving at a good pace, packing three hours of plot into 90 minutes. The climactic battle scene is stirring, featuring memorable shots of a town bursting into flames.

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