'When the Redskins Rode' seems intended as a follow up to Sam Katzman's earlier Columbia release 'Last of the Redmen' (1947), which had also been set in the 1750s, starred Jon Hall and employed an exotic new colour process to detail a trek across what appears to be the same distinctive Californian terrain (the earlier film was the only feature ever made in a process called Vitacolor; while 'When the Redskins Rode' is in SuperCinecolor. It looks very attractive for the most part but - as the two previous writers have both already observed - produces distinctly blurry and inconsistent results in some of the location scenes).
Set in 1753, the plot resembles many Japanese samurai films I've sat through in which high-level intrigue between rival shogunates is discussed at great and passionate length, punctuated with occasional pauses for a bit of large scale violent action. The two rival powers are here the British and the French; the former commanding the loyalty of American-Indian hero Jon Hall and 'Colonel' Washington, played by James Seay. The 18th century French uniforms occasionally used for target practice provide visual novelty, while Mary Castle and John Dehner as a pair of French spies and Gregory Gaye as Captain Saint-Pierre of Fort LeBoeuf are sneering villains worthy of an old war movie. (Considering how soon after the end of World War II this was made, it's rather startling to see the late Pedro de Cordoba as Chief Shingiss wearing a headband decorated with swastikas and upside-down hearts; while one of the goons sent to kill him blurts out that they were only following orders).
Set in 1753, the plot resembles many Japanese samurai films I've sat through in which high-level intrigue between rival shogunates is discussed at great and passionate length, punctuated with occasional pauses for a bit of large scale violent action. The two rival powers are here the British and the French; the former commanding the loyalty of American-Indian hero Jon Hall and 'Colonel' Washington, played by James Seay. The 18th century French uniforms occasionally used for target practice provide visual novelty, while Mary Castle and John Dehner as a pair of French spies and Gregory Gaye as Captain Saint-Pierre of Fort LeBoeuf are sneering villains worthy of an old war movie. (Considering how soon after the end of World War II this was made, it's rather startling to see the late Pedro de Cordoba as Chief Shingiss wearing a headband decorated with swastikas and upside-down hearts; while one of the goons sent to kill him blurts out that they were only following orders).