When thinking of John Wayne, it’s nearly impossible not to picture him as the no-nonsense cowboy in the Western genre — the kind of guy who rides into town, guns blazing, ready to take on any challenge. However, in Howard Hawks’ 1948 masterpiece Red River, Wayne takes on a role that completely overturns that familiar image. Here, he’s Thomas Dunson, a brutal cattle baron whose descent into dictatorship is as unforgiving as the land he’s trying to conquer. It's a role that lets Wayne explore a darker side of masculinity and one that has more in common with a Shakespearean tragedy than a typical Western.

But Red River was far more than a stepping stone to Wayne’s future anti-heroic roles. It’s a film that redefines the Western, turning away from the usual tale of outlaws and gunslingers to focus on a large group of cattlemen making the dangerous journey from Texas to Kansas along the Chisholm Trail. It's a story about survival, leadership, and the cost of ambition.

Set in the frontier of 1851, Red River follows Thomas Dunson (John Wayne), a cattleman who leaves a wagon train to carve out his own empire in Texas. Ignoring warnings of hostile territory, Dunson and his companion, Groot (Walter Brennan), push forward with their plans, only to suffer heavy losses. When a young boy, Matt Garth (Montgomery Clift) stumbles into their camp, apparently the sole survivor of an Indian attack, Dunson takes him in as his own. Eventually, Dunson claims the land, branding his new spread the Red River D. Over the next 14 years, he builds a cattle empire, but the Civil War leaves him desperate.

When gunman Cherry Valance (John Ireland) joins, bringing word that a railhead in Kansas offers a shorter, safer route, Dunson refuses to change course. As his leadership pushes the crew to the brink, deserters flee, and Dunson responds with deadly force. Matt takes a stand, seizing control and leading the herd to Kansas, leaving Dunson behind with a vow to kill him. with the cattle still miles from market and a reckoning on the horizon.

By the film’s 1948 release, John Wayne was already known for playing the hero. . As Dunson, Wayne was heartless, vengeful, and at times, disturbingly brutal. Dunson starts as an ambitious pioneer, but as the years pass and the pressures of the cattle drive increase, his leadership hardens into dictatorship. He shoots deserters without hesitation, attempts to execute his own men, and becomes consumed by his obsession with control. And, when his adopted son Matt defies him, Dunson vows to hunt him down and kill him.

This was a major shift for Wayne, who had just played the upstanding cavalry officer Kirby York in Fort Apache earlier that year. . And critics and audiences agreed. The film was a massive success, and Wayne’s transformation from heroic cowboy to anti-hero became one of the defining moments of his career.

Beyond its critical acclaim, Red River marked the beginning of Wayne’s collaboration with Hawks, a director who would go on to direct some of his most iconic roles. The two would later work together on Rio Bravo, El Dorado, and Rio Lobo, films that used Wayne’s signature toughness with the depth he first showed in Red River. More importantly, the film opened the door for Wayne to take on more anti-heroic roles in later classics like The Searchers, The Man Who Shot Liberty Valance, and True Grit. It proved that beneath the Duke’s heroic persona was an actor capable of portraying the darker complications of the American West.

. Dunson's initial portrayal as a cattleman gradually reveals a descent into fascism. His approach to leadership is evident when he resorts to executing deserters without hesitation, viewing such actions as necessary to maintain control over his crew. This leads to a conflict with Garth, who challenges Dunson's methods, advocating for a more democratic and compassionate approach to leadership. This clash not only drives the story but also reflects the tensions between traditional authority and progressive ideals in post-war America.

However, Red River doesn’t critique masculinity and leadership but situates these themes within the context of the American frontier. The cattle drive serves as both a literal and metaphorical journey into uncharted territory, and the trek to Kansas mirrors the struggles of the characters. In this landscape, the film challenges the mythic ideas of the American West that had long been shown in popular culture. The frontier, rather than being a space for heroes, is revealed to be a ruthless environment. It’s a place where survival hinges less on heroic ideals and more on adaptability and cooperation. . He represents a new way forward, one that values empathy, intelligence, and flexibility over power.

By the end of the film, the cattle drive itself becomes a symbol of this transition. Dunson’s obsessive quest for control almost destroys the very thing he set out to build, while Garth ultimately proves to be the more effective and compassionate leader. It’s a powerful subversion of the classic Western, where the older and more established ways are often glorified, and the younger generation must struggle to prove their worth.

Red River underwent significant changes during production, especially with its ending. . This version included several transitional moments designed to deepen the emotional stakes of the story. However, producer Howard Hughes wasn’t pleased with the film’s length and pacing. To appease him, Hawks trimmed the runtime to 127 minutes, which led to significant cuts and changes, especially in the final act.

The result of these changes was a different ending altogether. . The film concludes with Dunson returning home, his authority gone but with a glimmer of redemption. It’s a resolution that allows for the possibility of healing, even if it comes too late for Dunson to fully reclaim the power he once had.

But Hawks had initially envisioned something darker, and . After a confrontation with Garth, Dunson ends up alone, dying in the desert after being shot by Valance. The film takes a much colder tone, showing Dunson as a dictator whose ambition leads him to a lonely and unforgiving death. This original ending paints Dunson as the ultimate villain, consumed by his need for control, with no chance for redemption. But the differences between these two endings go beyond the final moments of the film.

The original version also included additional scenes that developed the characters. For example, it delved into Matt’s post-trauma experience, showing him dealing with PTSD following the Indian attack he survived as a boy. Also, in the lost version, the narration by Groot took on a more significant role. Instead of simply offering comic relief, Groot’s narration bridged the gaps in the story with his reflections on the journey, sharing insights that the characters themselves couldn’t express.

Red River is much more than one man’s downfall. It’s a film that questions survival, loyalty, and leadership in the American frontier. The film doesn’t offer easy answers or glorify its heroes but instead forces a confrontation with the realities of the frontier, where survival is less about heroism and more about adaptability, cooperation, and the willingness to change. In this way, Red River stands as an unforgettable critique of the myths that shaped the American West.