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Trooper Hook (1957) Joel McCrea, Barbara Stanwyck, Earl Holliman

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Movies : Western : DVD Rip : English



When Apache chief Nanchez is captured by the cavalry, his white squaw and infant son are
returned to civilization by Sergeant Hook, but Nanchez escapes custody and attempts to re-claim his son.
Director:
Charles Marquis Warren
Writers: Jack Schaefer (story), David Victor (screenplay) | 2 more credits »
Stars:
Joel McCrea, Barbara Stanwyck, Earl Holliman | See full cast & crew »


Plot
Showing all 2 items
Jump to: Summaries (2)
Summaries
After a band of Indians kill a group of soldiers,
Sergeant Hook captures them and their leader Nanches. Among the prisoners is Nanches' son and the boy's white
mother captured by them nine years earlier. Hook's assignment is to escort the mother and son to the woman's
husband. Traveling by stagecoach they learn that Nanches has escaped and it's not long before he and his warriors
show up intent on reclaiming the boy.

—Maurice VanAuken
When Apache chief Nanchez is captured by
the cavalry, his white squaw and infant son are returned to civilization by Sergeant Hook, but Nanchez escapes custody
and attempts to re-claim his son.

—nufs68


 9/10
Safe In the
Care of a Stalwart Sergeant
bkoganbing12 January 2007
One of Joel McCrea's better westerns is Trooper
Hook the story of a man given a mission to deliver a recent captive of the Indians back to her family.

This
is no ordinary captive. Barbara Stanwyck has been with the Apaches for several years and has been the squaw of Chief
Rudolfo Acosta and has had a son by him. After an a raid on Acosta's village she's discovered by the cavalry
and identified. She and her little boy are taken to the fort and McCrea is given the assignment of taking her back to
husband John Dehner. But this is going to prove a difficult journey on many levels.

Had Trooper Hook been
directed by someone like John Ford it would have gotten far more acclaim than it did. There are elements of Ford's
Stagecoach, The Searchers and Two Rode Together in Trooper Hook. And Rudolfo Acosta as Chief Natchez seems to be
continuing the part he played in Hondo.

One thing I've always liked about westerns they certainly give
the more mature among us the chance to be heroes. And the movies never had a better straight arrow hero than Joel
McCrea. It's mentioned he's a career soldier and 47 years old. He needs every bit of that experience for the
job at hand.

Stanwyck has a tough road to hoe in this film. A lot of very self righteous people wonder why
she just didn't kill herself rather than submit to Acosta. McCrea understands however, the scene where he tells her
of his experience in Andersonville prison during the Civil War is the most effective in the film.

Lots of
western regulars fill out the supporting roles. In addition to those mentioned look for Earl Holliman as the sympathetic
young cowboy who hitches a ride on the stagecoach, Celia Lovsky and Susan Kohner as grandmother and granddaughter,
Edward Andrews as a sniveling rat who will make your skin crawl, and Royal Dano as the stage driver.

Rape,
Illegitimate birth, Miscegenation and kidnapping were usually not subjects for the Saturday afternoon kiddie crowd who
saw westerns. But the Fifties was the decade of the adult western and Trooper Hook is a prime example. In fact on her
Big Valley television series, Stanwyck had a similar story line with Michael Burns about a young boy who was born to a
white woman captive and later returns to white society. Only the story was from the kid's point of view.

Trooper Hook is the sixth and last film Joel McCrea and Barbara Stanwyck made. It might very well be the best of them.
Though director Charles Marquis Warren was obviously influenced by John Ford, I doubt very much if Ford himself could
have done a better job. Trooper Hook is an undiscovered masterpiece in need of reevaluation.
38 out of 40 found
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 8/10
Under-rated western
gstevens-29 March
2001
I saw this film years ago, and still remember it for the incredible photography of the traveling stagecoach
and backgrounds.The Cinematography rivals anything John Ford has done. The movie has received mediocre reviews, however,
one should remember that the story was told as a ballad. I felt it dealt surprisingly well with inter-race prejudice.
Barbara Stanwyck had a reputation for being pro-native-american. She acted her role as the white mother of an indian
child well. Joel McCrea also was under-rated in his role as the sympathetic cavalryman. The supportings were solid gold
character actors-Royal Dano as the stagecoach driver, Earl Holliman as the shy drifter, Rudolfo Hoyos as the Apache
leader determined to get his son back. For a non-color film, it was better than most westerns of the era. I hope that
someday it can be released on vhs for all to enjoy the wonderful camera work in it.
34 out of 37 found this
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Worthy
dougdoepke11 November 2009
Another fine
McCrea Western with more substance than most. Cavalry sergeant McCrea must get white Indian squaw Stanwyck and little
half-breed son past bigoted whites and hostile Apaches to her former husband Dehner. Along the way, they encounter many
difficulties from both whites and Indians.

Those scenic Utah vistas, even in b&w, lend real credibility
to the proceedings. And catch that opening scene. Note the brutality from both cavalry and Apaches, as latter execute
prisoners, while former lays waste to Indian encampment. Throughout, the subtext hints at an underlying commonality
between the two races despite the hostility. Or, as Apache Nanchez and cavalryman McCrea observe during a peace parley,
there's a little of each in both of them.

Now, the question logically arises—given the warfare
and brutality, why is McCrea so basically kind to enemy Stanwyck and son. Sure, she was captured and made a squaw and
still has white skin, but she's also born Nanchez's son, captivity or no captivity. That's enough for
most whites to hate her. Thanks to an intelligent script (except for the contrived ending),
we find out. McCrea was a captive during the Civil War and stayed alive by imitating a dog, of all things. So, he knows
what it's like to humiliate oneself in order to stay alive, which is what the unrepentant Stanwyck has done as a
captive of the Apaches. It's a solid psychological point and a credit to McCrea that his character would risk such
a demeaning episode in his background.

There's also the suspenseful stand-off around the fallen
stagecoach. It's pretty clear that McCrea will shoot the boy if Nanchez attacks. It's also a pretty
cold-blooded gamble. What's rather surprising is that McCrea shows no doubts or compunctions about risking the
boy's life. Not too many Westerns of the time showed the hero holding a gun (through Holliman) to a little
boy's head, amounting to an unusual departure, particularly for McCrea's apparent lack of feeling. Of course,
what's going on underneath the steely resolve is likely entirely different.

Stanwyck is excellent as the
stoical Cora Sutcliff. Her career had fallen off since there weren't many A-pictures available to a middle-aged
star. But being the down-to-earth person she was known to be, she gives this B-Western her best, and it shows. I just
wish Earl Holliman had more screen time. Some people are born to play certain parts, and he was born to play a
good-natured, slightly oafish cowboy. His scenes with McCrea amount to little gems of unspoken affection. At the same
time, I'm guessing young lady Kohner's part was added to Holliman's to give the movie more youth appeal.
But most of all, the film has the great Joel McCrea. No actor brought more quiet dignity and less egotism to the
traditional cowboy role than he. Unfortunately, I expect it's that very low-key approach that has lowered his
public profile over the years. Too bad.

This 1957 release came at a time when both movies and TV were
saturated with cowboys and six-guns. As a result, many quality Westerns got lost in the crowd, and, I expect, this
humane little effort is one of them. Nonetheless, the ending is much too conventional and conveniently pat to
distinguish the results completely from the pack. I just wish the script showed the same
imagination in the last 5 minutes that it showed in the other 70-some. Then we would have had a complete little gem.
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Before Kramer Vs. Kramer...
bux3 June 2002
This 50s western is way ahead of it's time. It deals with child custody and parental rights
issues, as well as the racial implications created by the abduction of a white woman by Indians. Once again,
director/writer Warren, (Little Big Horn(1951) presents a tidy package, well scripted,
acted, with attention to detail. The cast is first-rate and Holliman does a good job in one of his early roles. Put it
all together with a nifty title song by Tex Ritter, and what we have here is something FAR from forgettable.
26 out
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 10/10
a real hero
dsmsrd430 June
2007
Joel Mccrea at his best.I recorded this off the tmc channel recently on a dvr. The dvr went bad so I lost the
show.I have tried to find this movie everywhere and it is not available. What a shame this treasure is lost to so many.
The little boy Terry Lawrence was so very good. No one could have played that part better. Lynn Stalmaster in my opinion
was the best at casting that ever was. You could depend on the actors doing a good job if he picked them for it.
Everyone in this show is superb.A very realistic show without going into the sordid details of todays movies.I am an
adult and I know what happened. Don't need to see it.I like good endings without the hero's getting killed. I
watch movies to be entertained not depressed and this one fills the bill.
16 out of 19 found this helpful. Was this
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 6/10
Western focuses on tolerance more than action
NewEnglandPat28
June 2009
Joel McCrea and Barbara Stanwyck are well-matched in an okay western with a theme that's been done
before in other films, namely "Duel at Diablo" several years later. Most of the film take place in a
stagecoach as a white woman with a half-breed son journeys home to her husband after years of captivity among the
Indians. The citizens are unwelcoming to mother and son and McCrea is along to serve as an escort and buffer against the
bigotry shown to his charges. There are a few action scenes but the film centers on Stanwyck's hardships against
frontier attitudes about her situation. McCrea is a comforting presence in Stanwyck's life and their friendship and
trust deepen during the journey. Rudy Acosta is good as the Indian chief who wants to reclaim his son, as is Earl
Holliman as a wandering cow puncher. John Denher is the hard case rancher who reluctantly accepts his wife but not her
Indian son. Royal Dano has some colorful lines as the stagecoach driver.
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 8/10
a truthful film from beginning to end.
alexandre michel
liberman (tmwest)24 December 2007
Warning: Spoilers

"Trooper Hook" asks a tough
question. How can a person accept a woman who had a son with the enemy, an Apache by whom she was kidnapped? That is the
case of Cora Sutliff (Barbara Stanwyck) who had a son with Nanchez (Rodolfo Acosta), the Apache leader. At the beginning
it is hard to understand her but as her feelings in relation to Nanchez begin to show up, you realize she did not have
much of a choice, she wanted to keep on living. Some people, like Trooper Hook (Joel McCrea) understand her, but most of
the others don't. To deal with such a difficult subject that admits no false answers, a film has to be very
truthful to its story and its characters and there lies the beauty of "Trooper Hook". The direction and also
part of the screenplay is by Charles Marquis Warren who directed and wrote the screenplay of "Arrowhead", one
the most, to say the least, angry westerns in relation to the Apaches. It takes the toughest people like Trooper Hook to
accept the the most difficult choices. It made me think of Ethan Edwards at the end of "The Searchers".
7
out of 8 found this helpful. Was this review helpful? Yes No | Report this
 8/10
A lot better than I'd
expected.
MartinHafer26 December 2012
Warning: Spoilers


The 1950s were not especially
great for Barbara Stanwyck. The once A-list actress was now older and was no longer being offered the same roles that
made her famous. Now, instead of love stories or comedies, she now was given roles in westerns--popular films, yes, but
certainly not prestige films. Some of the westerns were pretty good--most were just okay. However, "Trooper
Hook" was one of her better films from this period--made better due to a good script
as well as an exceptional co-starring performance from Joel McCrae. While Stanwyck was 'slumming it' in
westerns, McCrea's career actually went through a resurgence. As an older actor, he gracefully moved from handsome
leading man to a tough and likable western star. Together, they made a dandy film in "Trooper Hook".

The film begins with a group of renegade American Indians killing a squad of Cavalry men. Only moments later,
reinforcements arrive and the Indians are killed or captured. In the process, a white woman (Stanwyck) is found among
the tribe. Apparently, nine years earlier she'd been taken prisoner by them and in the interim, she became the wife
of their leader. Now, the leader is captured and it's up to the Sergeant (McCrea) to take Stanwyck and her young
child back to her original husband. But, the child is not his--and who knows how he'll react to having a child who
is half Native American. Considering how badly many in the film react to the kid, you assume the reunion won't go
very well.

While the story is good, the way the story is constructed is even better--as is the direction and
acting. In fact, there isn't a lot to dislike about the film. It manages to treat the Natives reasonably fairly and
is NOT just another 'bad Indian' film but has some real depth. Well worth seeing. I'd give it a 9 except
that the ending happened too quickly and seemed to work out a bit too perfectly.

By the way, the singing in
the film is done well by Tex Ritter (who also provided music for "High Noon" as well as in many of his
starring roles). I was actually a bit surprised by this, however, as Sheb Wooley was in the film and he also was an
accomplished singer and could have sung the songs. I am not complaining....just surprised.
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 9/10
Great performance of McCrea and Barbara
jazerbini7 September 2015
Joel McCrea and Barbara Stanwyck made several films together, this was the last. And if
we look good is a high level of western. The direction of Charles Marquis Warren is safe, in fact he was a great
professional, with also numerous successful tours. And the film has a photograph very well made, high profile.The story
is written by Jack Schaefer wrote the same as Shane and made possible the great work of George Stevens (1953). Mc Crea
had ups and downs in his performances, but remembering Union Pacific also with Barbara we saw an actor of the first
magnitude. And as a surprise, a good surprise, Earl Holliman has an outstanding record, perhaps the best of his career.
Recalls the role of the great John Wayne in Stagecoach, a pure cowboy and without prejudice. One might compare the role
of McCrea with Wayne, but I think the Holliman is closer to him. Anyway, it's a nice and sincere western. And
farewell to us all the incredible double McCrea and Stanwyck, wonderful.
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 7/10
Moderately entertaining!
JohnHowardReid21 November 2017
Warning: Spoilers

Director: CHARLES MARQUIS WARREN. Screenplay: Charles Marquis Warren, David Victor
and Herbert Little Jr from a story by Jack Schaefer. Photography: Ellsworth Fredericks. Editor: Fred Berger. Art
director: Nick Remisoff. Women's costumes: Voulee Giokaris. Music and direction: Gerald Fried. Title song by Gerald
Fried (music) and Mitzi Cummings (lyrics), sung by Tex Ritter. Set decorator: G.W. Berntsen. Make-up: Bill Woods and
John Holden. Hair styles: Nadine Danks. Wardrobe master: Robert Odell. Property master: Mike Gordon. Casting director:
Lynn Stalmaster. script supervisor: May Wald. Assistant director: Nathan Barrager.
Production manager: Glenn Cook. Sound recording: Fred A. Kessler. Westrex Sound System. Producer: Sol Baer Fielding. A
Sol Baer Fielding Production. Executive producer: Sol Baer Fielding.

Copyright 1957 by Sol Baer Fielding. A
Filmaster Production. Released through United Artists. New York opening as a support to the vaudeville bill at the
Palace: 12 July 1957. U.S. release: 1 June 1957. U.K. release: floating from October/November 1957. Australian release:
23 January 1958. 7,414 feet. 82 minutes. 

SYNOPSIS: When a band of Apaches is captured, a white woman, held
prisoner for seven years is freed. During her captivity, she has borne a son to the Apache chief. A cavalry sergeant is
ordered to escort the woman and her boy back to her husband by stagecoach. 

COMMENT: A superstar at worldwide
ticket windows in the 1930s, 1940s and early 1950s, Barbara Stanwyck had fallen from cinema grace by the time Trooper
Hook was released in 1958. Few people saw it. Including me. But the film has always had a reputation as an off- beat and
fascinating little western. So it was good to catch up with it finally on TV.

Needless to say, I was
disappointed. True, the central situation is promisingly intriguing, but little is made of it. In fact the plot follows
such a predictable course, I guarantee every reasonably experienced moviegoer could predict the outcome by the end of
the first reel. 

I've seen many pictures where twists in the narrative bring about a momentary surprise.
Occasionally I've been forced to re-appraise my whole assessment as to where the story was heading. But not in this
picture! Though agreeably acted, and staged — on real locations — with a moderate amount of excitement,
it's a familiar, cliché-ridden yarn. 

There are many passages in which Warren's direction
signally lacks his usual flair. True, the script is over-weighted with dialogue. Warren is
obviously bored, saving his energies for the location and action scenes. I love the shots of the stage hurtling across
dusty plains.

The players do what they can with their clichéd characters. McCrea comes over best. He looks
as old as the script makes him (48) too! Earl Holliman makes his layabout cowboy an
ingratiating figure. But Stanwyck's performance is routine, conveying little of the torment, anguish, yet inner
strength of the character. I got the impression she was holding herself back for her usual big emotional scene at the
climax — but this was one of the few script expectations that didn't actually
happen. Instead the plot was resolved in an anticipated but somewhat abrupt and unsatisfying manner. 

Most of
the character players are stuck with their usual routines: Edward Andrews as a blustering, greedy coward; John Dehner as
the stiff, uncompromising husband; Celia Lovsky as the old Spanish aristocrat; Stanley Adams as a loud-mouthed salesman.


The only slight deviation from type allows Royal Dano to walk away with the acting honors for his crustily
flamboyant old stage-driver. (Walter Brennan or Andy Devine or "Gabby" Hayes were presumably busy that week).


By major studio "B" standards, production values are pretty moderate. It's obvious the stars
didn't venture too far or too often from the studio, judging from the large number of process screen effects
employed and at least one distractingly phony scenic backdrop. 

However, I enjoyed Tex Ritter's theme
song and would have welcomed more reprises. I also admired the dusty gray location photography contributed by Ellsworth
Fredericks.
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 5/10
Stagecoach
and Race
wes-connors3 June 2012
Warning: Spoilers

When US Cavalry officer Joel McCrea (as
Clovis Hook) captures Apache Indian chief Rodolfo Acosta (as Nanchez), he discovers one of the Native American's
"squaws" is "white woman" Barbara Stanwyck (as Cora). We learn Ms. Stanwyck was abducted and bore
the Indian Chief a son, cute little Terry Lawrence (as Quito). Charged with returning Stanwyck to her husband, Mr.
McCrea faces much prejudice along the way; the bigotry is compounded by the fact that Stanwyck refuses to leave her
Apache son with the tribe. As we wonder how Stanwyck will be received by husband John Dehner (as Fred Sutliff), the
boy's real father is freed to stalk the travelers...

Though second-billed and not even the subject of
the title "Trooper Hook", this story focuses squarely of Stanwyck's character. A classic, the golden age
actress performs well while maintaining her great screen presence. A co-star from the same era who became a star in the
"western" genre, McCrea makes his role as important. Friendly cowboy Earl Holliman (as Jeff Bennett) and money
flushed Edward Andrews (as Charlie Travers) lead a fine supporting cast...

Directed by Charles Marquis
Warren, this film plays like a fine TV anthology show entry; possibly a series starring McCrea was considered. But there
are some serious story problems. It's doubly doubtful that a certain character would be shot dead due to actions by
both McCrea and Mr. Holliman. And, what happened to the $10,000? While that scene is debatable, the marital status of
McCrea's character wavers wildly. While waiting for Stanwyck's husband, McCrea says, "My wife
doesn't always meet me." By the end of the film, McCrea is conveniently unmarried again; and, talk about
people wanting to marry him off suggests he'd never been married.

***** Trooper Hook (6/26/57) Charles
Marquis Warren ~ Joel McCrea, Barbara Stanwyck, Earl Holliman, Edward Andrews
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 10/10
You'll Be Hooked
Richie-67-48585211 November
2017
Quality entertainment here. Joel Mcrea, Barbara Stanwick and Earl Holliman pull it off along with some good
supporting staff to bring us a movie with depth and feeling. The subject matter brings out any hidden prejudice and
helps us to examine it in the light of reality. We go back in time when Indians were around and being rounded up and
there are many tales to tell about that. This one involves a white woman taken captive and ending up having a son by an
Indian chief. Not a very popular position back then and every generation since then has something to say about this
subject. We see how we can choose between three choices while watching. Either we accept the situation, reject it or
stand-up for it. The movie gives us those positions and more. It also ends on a positive note which back in the day was
needful and helpful especially if the subject matter was controversial. Enjoy the horses, towns, dust, general store and
stagecoach days as they came and went so quickly but affected many a life. Good movie to snack with a tasty drink too. I
always enjoy Westerns that have a catchy tune either in the beginning or ending. This one has it in the middle of it not
once but twice. The tune which was a story set to music makes sense. I couldn't help but think they should have
done a sequel too. Mount up and lets ride.
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this
 8/10
"Ole Stoneface" is one of 3 plausible husbands for rescued woman and her mixed race
boy
weezeralfalfa18 April 2017
Warning: Spoilers

Sergeant Hook's life is changed
forever by his capture of Apache chief Nanchez, her mixed race son, and silent European 'wife': Cora. Most of
the drama concerns the disposition of the 5 year old son: Quito. Cora insists that he remain with her, wherever she
goes. But, nearly everyone else, except Hook and a woman or two, thinks the boy should be kept with his father, wherever
he goes. Most important, her white husband of about 15 years refuses to accept Quito. Hook points out that the couple
didn't have any children in their 9 years together, hence Quito might be the only child he ever has. No one seems
to have consulted Quito as to his preference, if any. Nanchez is obsessed that the boy be returned to him. It's not
clear whether he insisted on the return of his 'wife', nor whether she would want to return, given a choice.
She says Nanchez was kind to her except for one beating when she didn't do what he asked. 

When
captured, Cora refuses to talk in any language. Once she felt more comfortable, she began to speak English to some. Most
European captives lost their facility with their native language if captured for 1 or 2 years. Generally, the younger
they were, the more rapid they lost their native tongue. Cora must have been relatively old, probably 25-30 when
captured. Thus, she might be expected to retain bits of her native language after about 6 years of captivity. Thus, I
suspect her unexpected apparent full retention of English was more a device to facilitate the progression of the film
story.

The film begins with the Apache execution of a small detachment of surrounded cavalry, who somehow had
managed to lose their horses, firearms and swords. Immediately following, Sergeant Hook's larger cavalry detachment
overruns the Apache, capturing Chief Nanchez, as ordered, and killing or capturing most of the other Apache.

At the army post, as well as several stage depots on the way to finding her white husband, Cora was mostly criticized
for sleeping with an Apache, saying that she should have killed herself instead of yielding sexually to a fierce enemy
of Europeans. Cora didn't agree. Hook comforted her, trying to minimize such revulsion, and telling her about his
experience as a captured soldier in the Civil War, when he pretended to be a dog, in order to get enough food to
survive. 

During their trip to find Cora's husband, they have an encounter or two with Nanchez, whom
they learned had escaped prison. Nanchez was still intent on capturing Quito, but Hook had another man hold a gun to
Quito's head while he negotiated with Nanchez. Nanchez said the Apache called Hook "Stoneface", for his
unemotional bearing, but he should be called "Stoneheart" for his refusal to hand over Quito and threatening
Quito's life. 

In another tense scene, when Cora is running from her husband: Jeff, toward Hook, who is
about to leave Jeff's property, Jeff raises his rifle, threatening to shoot one or all of them. Just then, a bullet
from Nanchez nearly hits them. They all get in the buckboard and ride in the opposite direction, with Nanchez and others
following close behind. See the film to see what happens next(if you can't guess). This film is currently available
on YouTube.

Of course, there are various other Hollywood films that feature females or children captured by
Aboriginal Americans. Among these are: "Northwest Passage", "The Charge at Feather River", "The
Searchers", "Two Flags West", "Comanche Station", "Stolen women, Captured Hearts",
and "Soldier Blue"(all of which I have reviewed),but the film that most resembles the details of the present
film is "The Stalking Moon", released a decade later. The main difference is that there is no white husband
waiting for her in that film. To me, it's a less interesting and less realistic film. Also, some similarities to
"Stagecoach", and "The Big Country" are evident.

Joel McCrea's persistent stiffness
in his demeanor is probably partly the characterization of a dutiful Sergeant. However, his persona in other films tends
to be stiff. Royal Dano, as the charismatic humorous stage driver serves to partly counter McCrea's stiffness.
Barbara Stanwyck did well in her alternative withdrawn and feisty scenes. She was paired with McCrea in a number of
other films, the one I remember being "Union Pacific" of nearly 2 decades earlier. Rudolfo Acosta, born a
Mexican, mostly played bad guys, especially in westerns. Here he plays Nanchez, the worst of a bevy of bad guys in this
film, including both whites and Apache.
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this
 9/10
A most enjoyable and amusing film with known actor Edward Andrews in the cast.
elettra-230
March 2008
In the fond hope that my question couldn't spoil the story, only make it more intriguing. Several
years ago I screened "Trooper Hook". Enjoyed watching old friend, Edward Andrews (Alive and kicking, no thanks
to me), but a nagging question about the film remains: What happened to the $15,000 left by "the cowardly
hostage" when the protagonists were "rescued" ? I didn't see even an Indian grab for it. My
knowledge of Eddie Andrews stemmed from meeting and entertaining him and his lady, as well as Cloris Leachman, Patricia
and Philip Barry and others after a Summer Stock stint in Fairport, NY circa 194? I had invited them all back to my
house for a lovely ham casserole. However the glass dish slipped off the rolling cart and smashed into a million
pieces/shards ! The first taste of what I managed to sweep up and thought safe to ingest, had tiny bits therein. Dinner
was called to a spitting halt. Aside from a few Twilight Zone episodes, I don't think I ever saw him again. A great
comical bad guy and a fine friend. He never would have abandoned what today would be half a million dollars !
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 5/10
Fair western needed the John
Ford touch...
Neil Doyle7 June 2008
JOEL McCREA has orders to deliver Mrs. Sutliffe (BARBARA STANWYCK) and her
Indian son to her husband after she's been rescued from an Indian tribe where she was forced to submit to becoming
an Indian squaw. His mission has all the overtones of a John Ford western like "Stagecoach" which has McCrea
transporting passengers via stagecoach to their destination.

Lacking strong direction, there's a B-film
flavor to the film despite the presence of McCrea and Stanwyck in the leading roles. Both were past their prime and
box-office value and they deserved a stronger vehicle than this to house their talents. EARL HOLLIMAN and SUSAN KOHNER
have supporting roles as a young couple finding romance.

Tension mounts as the Apache chief makes plans for
an Indian attack to get his wife back. Some plot complications mount too, but all of this is given standard treatment.
Stanwyck becomes her usual feisty self when she's threatened with having her boy taken away by Nanchez and McCrea
is the epitome of level-headed calm as an Army sergeant in charge of some dicey situations, including racial animosity
toward the woman who had been a captive of the Indians.

John Ford dealt with some of the same ingredients in
his famous film, THE SEARCHERS, and oh what a difference it made to have him behind the camera.

Summing up:
Some unusual material, but ultimately it's just a standard western with uninspired direction by Charles Marquis
Warren.
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 3/10
Something of
a Downer.
Robert J. Maxwell28 June 2009
Warning: Spoilers

"Trooper Hook" is an
engaging title, suggestive of a colorful robust cavalry Western, maybe something along the lines of those majestic John
Ford numbers. Sadly, it's anything but that.

The original story is by Jack Schaeffer, who wrote the
novel "Shane." The book wasn't that hot, being essentially a cobbled together and unsophisticated
old-fashioned pulp piece. It was made into a Western masterpiece by George Stevens, the director, and his crew.

Well, Charles Marquis Warren is no George Stevens. His direction here and elsewhere is flat and uninspired. The
script is of little help. After Sergeant Hook, Joel McRae, battles and defeats the Apaches,
they find a captive white woman Barbara Stanwyck who has had a child by the Apache Chief, the camera-ready but modestly
talented Rudolfo Acosta.

McRae takes Stanwyck and her child on a stagecoach ride, along with various other
passengers, some of them obviously derivative. (When, oh, when, will we see a stagecoach in dangerous country without a
greedy banker?) They are pursued by Acosta and his band, who have escaped from prison. Finally, McRae sees to it that
Stanwyck and her husband, John Dehner, who has thought her dead for lo these seven or eight years, are reunited. The
only problem is that Dehner doesn't like the notion that Stanwyck has been getting it on with an Apache, nor is he
particularly fond of the prospect of raising "another man's leavings." Well, en fin, Dehner and Acosta
are killed and Stanwyck and her boy leave with McRae, object: matrimony.

I suppose something could have been
done with a plot like this, even if the Apaches in some ways are the usual stand-ins for African Americans. But
it's a slow story with a lot of grumbling and no sparkles in the script. Whoever
thought of casting the familiar and reliable, Viennese-as-all-get-out Cecilia Lovsky as a Spanish duena? She ought to be
making Sacher-tortes, not tortillas. Barbara Stanwyck, a good and sexy actress ten or fifteen years earlier, looks
steely. We're half an hour into the film before she has a line of dialog -- and not many after that. Joel McRae is
almost unrecognizably aged and wears a mustache that makes him look older. It's not that actors in late middle-age
don't belong in Westerns. McRae himself did a splendid job two years later in "Ride the High Country",
under a far better director, and Gary Cooper was just about right in "High Noon." But, whatever your age, you
need a good vehicle and a director who knows what he's doing -- and this ain't it.

It's not an
insulting movie. Its sentiments aren't wrong. And it's not outrageously sloppy. It's just plain dull.
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 4/10
B Grade Western with
predictable plot
PrairieKid29 June 2012
Army troop captures a renegade Apache leader and his followers which
includes a white woman captive who is the mother of the leader's half breed son. The woman chooses to keep her son
and take him with her. The sergeant is put in charge of returning the woman with her child to the woman's husband.
The white soldiers, their wives and many of the other people they encounter are negative towards the woman, what she
endured and her wanting to keep her son. The boy's father escapes and attempts to recover his son and return him to
the Apache tribe knowing the boy will not be accepted in the white world. Almost identical story line to a later film,
The Stalking Moon, starring Gregory Peck. Shot in black and white, this is definitely a B western with a low grade TV
movie feel and some poor moving effects. Not a great western or one of Stanwyck's or McRae's better
efforts.
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 4/10
Forgettable
"western"
David Vanholsbeeck31 July 2000
Trooper Hook(played by Joel McCrea)is a hard, but
good-natured army officer, fighting against the Indians. When taking captive a notorious Apache leader, he finds out the
Indian's wife is a white woman(Barbara Stanwyck), with an Indian child. Hook has to bring the woman(and the child)
back to her real husband. Of course, there are some complications.(nothing you couldn't have guessed however)And
that's about all the story there is...

The only good thing about this western is the acting. Stanwyck
and McCrea do a good job. The film itself never becomes irritating, but that's about the best you can say about it.
There's hardly a decent story, the songs are pretty lousy and sometimes you can notice that it wasn't exactly
the wild wild west they were filming in. Notice that at a certain moment the coach in which our main characters are
traveling comes to a stop. When you see a close-up of Stanwyck however, the vehicle seems to be moving. It's just
one of the examples of bad filming in this movie... 4/10
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Yes No | Report this
 7/10
"Just hold tight. We'll start worrying hard when it counts."
classicsoncall27 January 2017
Warning: Spoilers

The film had me pretty intrigued with the
dynamic between Trooper Hook (Joel McCrea) and the Chiricahua Indian Nanchez (Rudolfo Acosta), but when they squared off
in that deadly showdown with the chief's son caught in the middle with a gun at his head, well, that was one of the
most powerful confrontations I've ever seen in any movie. Hook admits he would have given the signal to shoot the
boy if Nanchez didn't back down, and I thought to myself - what if Nanchez was as hard-headed as Cora
Sutliff's husband (John Dehner)? And what about Earl Holliman's character, do you think he would have gone all
the way? All intriguing questions if the story went in a different direction.

But since it didn't, I
thought the resolution made a huge concession to coming up with a happily ever after ending. With Sutliff and Nachez
shooting each other during the chase, the ending was just a little too pat for my consideration. It made sense within
the context of the story line, but Hook and Cora Sutliffe (Barbara Stanwyck) were reconciling to a life long commitment
without really knowing each other.

I thought the picture had an interesting lineup of supporting players. I
never recognized Royal Dano though with all that chin fuzz. He really got my attention when he had that minor blow up
with Jeff Bennett (Holliman) over the fare for the stagecoach ride, admonishing Bennett for being 'deafer than a
woodpecker in a hailstorm'. The imagery of that line was classic, I'm going to have to remember to put it to
good use some day.

Edward Andrews shows up as a fellow stage traveler as well, playing the kind of slimy
character he got to do a lot of in movies and various TV series. The creep tried to buy off Nanchez or convince Cora to
give up the kid, deserving his fate for playing both sides against the middle. Sheb Wooley also had a brief scene in
which he portrayed a vicious racist when Cora showed up with Quito (Terry Lawrence). He didn't last long with the
Trooper around.

So over all not too bad a story, but closing out in conventional fashion that audiences of
the era probably found favorable. One other side note that I thought made the story a little off beat was not finding
out the name of Earl Holliman's character till the end of the movie.
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review helpful? Yes No | Report this
 7/10
You're the army, do something.
Spikeopath21 February
2014
Trooper Hook is directed by Charles Marquis Warren and collectively written by David Victor, Jack Schaefer and
Herbert Little Jr. It stars Joel McCrea, Barbara Stanwyck, Earl Holliman, Royal Dano and Rudolfo Acosta. Music is by
Gerald Fried, with theme tune song by Tex Ritter, and cinematography is by Ellsworth Fredericks.

Upon
capturing a band of marauding Apaches, Cavalry Sergeant Clovis Hook (McCrea) finds a white woman amongst the group. Cora
Sutliff (Stanwyck) was taken by the Apache years ago and became the squaw of their leader, Nanchez (Acosta), she also
bore him a child, Quito (Terry Lawrence). The army decides to reunite Cora with her white husband and charge Hook with
delivering both her and Quito safely across country to the Sutliff homestead...

Splendid cast is assembled
for this black and white Oater that is more about racism and the problems of inter-racial relations in the Old West,
than it is a Cavalry Vs Indians shoot 'em up. Story essentially follows a stagecoach travelling across country that
finds Hook, Cora and Quito encountering all manner of characters along the way, most of whom are racist. While of course
there is the small matter of the Apache being on their tail as well.

Hook is a grizzled old badger, orders
are orders, regardless of if he had any sort of objections to his mission, he's there to keep order and see the job
through. For various reasons, everyone on the journey will be looking to him for action and decisions, not least Cora
and Quito who begin to form a warm relationship with him. It of course builds to a head once the Apache come back onto
the scene, and there's the issue of if Cora's husband will accept her and her half-breed son into his life?

It's very competently performed, and with the exception of some of the lower budget aspects of the
production, it's well crafted by Warren. Unfortunately the writing doesn't always give the outside characters
a quality of script befitting the themes of the story. Hook and Cora get some good back
story, she in explanation of her captivity and he with his rueful recollections as a prisoner of the Civil War. While
Holliman is served well as a genial cowpoke and Dano as the crotchety stagecoach driver is great fun.

Coming
as it did post far better movies that dealt with prejudice themes in the Indian Wars, it feels like a coat tail grabber,
and a watered down offering at that. That it's still a worthy viewing experience comes down to the work of a
committed set of lead actors. 6.5/10
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