The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

After playing with our expectations, this turns out to be a very different sort of film.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

There have been any number of films familiar to me featuring one or more white females captured by Native Americans and attempts to rescue them, whether or not they wanted to be rescued. But this story is unique, in that it's planned from the beginning to release the captive unharmed after the infirm chief takes a look at her, he being said to be her father, unbeknown to her until he greets her in his native village. According to one reviewer, about 40 min of this film was hacked off, presumably to reduce its run time. That may explain some of the confusing events. However, it's not so bad that some viewers might find it a worthwhile experience. Lana Wood: Natalie's younger sister, makes a beautiful-looking '70s urbane woman, who looks and acts quite out of place as an 1840's pioneer woman. Unfortunately, she couldn't act the part, serving mainly to add sex appeal. Putting several bits of information together, I gather that Beth's(Lana)father was actually Chief Running Wolf. I wonder how this came about, since trapper John Colter seems to have been her acting father all along, apparently unaware that he was not her biological father. Her mother most likely was a Native American, which would make her a full N.A.! She hardly looks the part.The lunatic called The Bugler is quite a character, played by the director Charles Pierce, who was also the producer and one of the writers. Apparently, he was a white, whose madness was considered by the Shoshone a sign of having special spiritual powers. In consequence, he usually led a bunch of Shoshone. I can't recall another character in a western quite as consistently demented.Ben Johnson's character, John Colter, is the namesake, of a famous trapper in this area, who was included in the Lewis and Clark expedition, and given credit for discovering the Yellowstone and Teton region. However, he died elsewhere in 1812, and this story takes place in 1848. I don't believe he had any children.After the Shoshone captured trappers Colter and Willis, they played with them, challenging them to beat a brave, while tethered to a pole in the ground. Willis eventually was shot in the back with a couple of arrows. In contrast, Colter killed his opponent and was released from captivity. This episode much reminds me of a famous incident involving the real John Colter, in which he was captured by Blackfeet, stripped naked, and made to run a race for his life, given a head start. He killed the front runner behind him, then continued to run for his life. Meanwhile, his trapper partner was killed, as in the film.Some Cheyenne braves are depicted playing a stylized game of "counting coup", in which they are supposed to spear a series of rings on hooks, each on a pole in a line. I wonder if this game was actually a feature of Cheyenne culture? None of the principle actors playing Native Americans was actually a N.A.. Iron Eyes Cody, often assumed to be a N.A., was actually born a Sicilian. Jack Elam, barely recognizable, played trapper Willis. Paul Fix played Running Wolf, while Alex Cord played Grayeagle. All of the "good" N.A. were Cheyenne, whereas the Shoshone, along with the Bugler, were cast as "bad".

This poorly-made movie has a surrealistic tone to it that numbs the mind. Details of why crucial events are unfolding seem sketchy and unfinished. Perhaps that was the director's intent, except for the fact that the whole film lacks any semblance of direction. Nor is there much in the way of acting, dialogue, plot or cinematography. The resolution is out of focus and painfully obvious political correctness abounds, typical for its time frame. In fact, Grayeagle seems like a lousy hallucinogenic drug trip, especially when viewed at three AM. One of Alex Cord and Ben Johnson's worst efforts, and I'm a fan of both actors---a real waste of their talents and of the viewer's time.

Set in 1848, Montana Territory, this film is an excellent & accurate portrayal of frontier life. Starring Ben Johnson, Iron Eyes Cody, Jack Elam, Lana Wood & Alex Cord, it shows indians and settlers as they really were. Thoroughly enjoyable for the Western Film Fan.

Grayeagle is entertaining. Jaime Mendoza-Nava made a fine music score. Nicely shot landscape panoramas give the impression of the Big Country. The outdoor reminds me of the movie Dances With Wolves. Alex Cord is a feast for the eyes with his costume, his body paintings and his decorated horse. He plays a decent fellow and is active as an indian warrior in full proud colors who is kidnapping the daughter of Ben Johnson. Ben Johnson automatically assumes the cliches, that a young woman can only be kidnapped by hostile indians to be disgraced. Therefore he eagerly tracks the enemies and gets into a lot of selfmade trouble. Persons of different cultures get acqainted. The kidnapping is disclosed as a friendly forced invitation for the daughter to meet her biological father who is the chieftain of the tribe. Alex Cord and his fellows have the best intentions to escort him through his few left final hours until he dies of old age. Furthermore they try and succeed to make him feel happy and to be in party with his people while he passes away. This movie creates a warm human feeling.