It's interesting to follow John Wayne's career progress, from the early Lone Star Western days up through the leading roles he's most famous for in the Sixties and Seventies. Here, in "Dakota", and in other films of the era, he probably appeared at his best in terms of rugged good looks and athletic skill. He cuts an impressive figure, particularly with leading lady Vera Ralston by his side to smooth out the rougher edges.
The film itself isn't particularly noteworthy for it's story line, a theme that's been done time and again in the genre. Evil land grabbers attempt to swindle hard working honest folks out of their wheat farms just before the railroad comes through so they can cash in for the quick kill. Ward Bond portrays the main bad guy with subtle malice as he engineers the land swindle, while pro boxer/wrestler/strong man Mike Mazurki is his top henchman. Bond's character Jim Bender in particular is a much smoother characterization than one is used to seeing in these types of oaters; more than one wheat farmer commented on how honest he seemed to be with his calm demeanor and dialog.
The picture gets off to a wild start as John Devlin (Wayne) elopes with Sandy Poli (Ralston), as they manage to outrun her father who disapproves of the already completed marriage. In a well crafted scene, Marko Poli (Hugo Haas) turns the tenor of the early story on a dime as he comically attempts to send off a telegram to the daughter that got away. The scene sets the stage for additional comic relief, primarily supplied by Walter Brennan in a wonderful portrayal of the 'River Bird' Captain Bounce. Most of the time Bounce can be heard talking to himself in the colorful language he's known for, and it's a hoot to catch his antics, particularly in the grounded riverboat scene.
Nick Stewart is the captain's sidekick, his gimmick is a constant handkerchief wipe of face and brow that signals a nervous twitch. His black character is somewhat stereotypical in presentation, but not as racially charged as mentioned elsewhere in this forum. Probably the worst that can be said about it is that it resembles a 'Step 'n Fetchit' type of portrayal, though it comes in handy for Wayne's character later in the story to signal the bad guys on the move.
There's a neat device near the finale when Devlin goes after Collins (Mazurki). While pushing through the door of the cabin, Devlin pulls Collins' hat down over his face prior to bashing him. That's a move I hadn't seen before.
Probably the most unusual and in it's way most refreshing element of the story is the way Ralston's character keeps one step ahead of her new husband by pulling the strings on their future together. With his eye set on California, Devlin never makes it as the Mrs. manages to shanghai his plans every step along the way. It's also on that note that the movie ends, with the Captain's refurbished riverboat horn drowning out Devlin's protest against another one of her manufactured schemes.
