A former Civil War solider bent on killing the man whose surrender got his brother killed, later finds out a rancher wants that same man and his blind brother killed.A former Civil War solider bent on killing the man whose surrender got his brother killed, later finds out a rancher wants that same man and his blind brother killed.A former Civil War solider bent on killing the man whose surrender got his brother killed, later finds out a rancher wants that same man and his blind brother killed.
Iron Eyes Cody
- Brave Bear
- (as Iron Eyes)
Bryan 'Slim' Hightower
- Hankey
- (as Bryan Hightower)
Phil Rawlins
- Les
- (as David Rawlins)
Wes Hudman
- Stranger
- (as Wesley Hudman)
Lee Phelps
- Bartender
- (uncredited)
Duke York
- Joe Doniger, Soldier
- (uncredited)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe story takes place after the Civil War which was 1865. The revolver used was the Colt Pacemaker 1873. So it was not even invented yet.
- Quotes
[Speaking over Hankey's body]
Johnny Tallon: Hankey was a good man. He didn't have any feelings about anything. All he had was loyalty.
Featured review
one of the last 2-color Cinecolor movies
'Ft. Defiance' is a B-movie western that in terms of story is quite a cut above the typical Saturday matinée fare. But, this is a description of the Cinecolor process it was shot in.
3-strip Technicolor was the first technically viable, full color film process commercially available to the U.S. film industry. Although technically elaborate and expensive, for about a 15 year period (ca. 1935-50) it was also the only full color process available (Kodachrome, a reversal process yielding a positive image from the camera stock, was not regarded as suitable for studio film production).
During Technicolor's reign there were a number of alternative low-budget color film processes based on the 2-color principle of color reproduction. Although 3 primary colors are required to obtain a full color gamut, a surprisingly natural-looking color image can be achieved by using only 2 primary colors, basically, a warm primary and a cool primary.
Instead of dividing the spectrum into 3 bands (red, green, blue), it is split into 2 regions, representing the warm colors (red, orange, yellow) and the cool colors (green, blue, violet). In the photography, red and green color separation filters are used to obtain the 2 primary color images. Because of the technical complexity of full 3-color requirements, the first successful color motion picture processes (Kinemacolor and others) from the 1910's onward, were 2- color processes. Technicolor started out as a 2-color process itself.
As with other 2-color processes (Trucolor being its main competitor) the Cinecolor process used Mitchell cameras adapted for bi-pack filming where 2 rolls of film are run through the camera simultaneously. The camera's magazines had 4 chambers, 2 feed and 2 take-up. Each roll of black & white film captured one of the 2 'primary' images.
A Cinecolor film print contained 2 primary color images, a reddish-orange and a cyan, printed on opposite sides of the film base. In making splices, the projectionist had to scrape emulsion off BOTH sides of the film so the cement could form a proper bond. Focus was achieved by focusing at the center of the film base as a compromise (instead of on the emulsion).
When Kodak and other companies introduced single-strip negative-positive color film systems around 1950 -- which meant that standard production cameras could be used for full- color filming without special adaptations or apparatus -- the raison d'etre for 2-color systems was eliminated, with 'Ft. Defiance' being among the last of its kind. 3-strip Technicolor itself survived only a few more years as a production process, although the lab continued providing imbibition film prints to the industry for more than a decade afterwards.
Like other 2-color processes, Cinecolor suffered from a limited palette, where bright greens, yellows, and purples were not achievable. Most other colors could be represented with fairly reasonable approximations. It also suffered from a bit of variability in color densities. Nevertheless, it was the most natural looking of all the 2-color processes.
Considering its 2-color limitations, what's remarkable about Cinecolor is how natural-looking it could be.
Some other 2-color Cinecolor titles are: Black Gold (1947) Albuquerque (1948) Strawberry Roan (1948) Flight to Mars (1951) Flat Top (1952) .
3-strip Technicolor was the first technically viable, full color film process commercially available to the U.S. film industry. Although technically elaborate and expensive, for about a 15 year period (ca. 1935-50) it was also the only full color process available (Kodachrome, a reversal process yielding a positive image from the camera stock, was not regarded as suitable for studio film production).
During Technicolor's reign there were a number of alternative low-budget color film processes based on the 2-color principle of color reproduction. Although 3 primary colors are required to obtain a full color gamut, a surprisingly natural-looking color image can be achieved by using only 2 primary colors, basically, a warm primary and a cool primary.
Instead of dividing the spectrum into 3 bands (red, green, blue), it is split into 2 regions, representing the warm colors (red, orange, yellow) and the cool colors (green, blue, violet). In the photography, red and green color separation filters are used to obtain the 2 primary color images. Because of the technical complexity of full 3-color requirements, the first successful color motion picture processes (Kinemacolor and others) from the 1910's onward, were 2- color processes. Technicolor started out as a 2-color process itself.
As with other 2-color processes (Trucolor being its main competitor) the Cinecolor process used Mitchell cameras adapted for bi-pack filming where 2 rolls of film are run through the camera simultaneously. The camera's magazines had 4 chambers, 2 feed and 2 take-up. Each roll of black & white film captured one of the 2 'primary' images.
A Cinecolor film print contained 2 primary color images, a reddish-orange and a cyan, printed on opposite sides of the film base. In making splices, the projectionist had to scrape emulsion off BOTH sides of the film so the cement could form a proper bond. Focus was achieved by focusing at the center of the film base as a compromise (instead of on the emulsion).
When Kodak and other companies introduced single-strip negative-positive color film systems around 1950 -- which meant that standard production cameras could be used for full- color filming without special adaptations or apparatus -- the raison d'etre for 2-color systems was eliminated, with 'Ft. Defiance' being among the last of its kind. 3-strip Technicolor itself survived only a few more years as a production process, although the lab continued providing imbibition film prints to the industry for more than a decade afterwards.
Like other 2-color processes, Cinecolor suffered from a limited palette, where bright greens, yellows, and purples were not achievable. Most other colors could be represented with fairly reasonable approximations. It also suffered from a bit of variability in color densities. Nevertheless, it was the most natural looking of all the 2-color processes.
Considering its 2-color limitations, what's remarkable about Cinecolor is how natural-looking it could be.
Some other 2-color Cinecolor titles are: Black Gold (1947) Albuquerque (1948) Strawberry Roan (1948) Flight to Mars (1951) Flat Top (1952) .
helpful•141
- rtravis-167-909977
- Sep 26, 2011
Details
- Runtime1 hour 22 minutes
- Aspect ratio
- 1.37 : 1
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