
The most savage film in history!
After a cavalry group is massacred by the Cheyenne, only two survivors remain: Honus, a naive private devoted to his duty, and Cresta, a young woman who had lived with the Cheyenne two years and whose sympathies lie more with them than with the US government. Together, they must try to reach the cavalry's main base camp. As they travel onward, Honus is torn between his growing affection for Cresta.
- 6.8
- 1970
- Released
- 1h 55m

Candice Bergen
Kathy Maribel Lee, 'Cresta'
Peter Strauss
Honus Gent
Donald Pleasence
Isaac Q. Cumber
John Anderson
Col. Iverson
Jorge Rivero
Spotted Wolf
Dana Elcar
Capt. Battles
Bob Carraway
Lt. McNair
Martin West
Lt. Spingarn
James Hampton
Pvt. Menzies
Mort Mills
Sgt. O'Hearn
Jorge Russek
Running Fox
Aurora Clavel
Indian Woman
Marco Antonio Arzate
Kiowa Warrior (uncredited)
Barbara De Hubp
Mrs. Long (uncredited)
Ron Fletcher
Lt. Mitchell (uncredited)
Alfredo Tarzan Gutiérrez
Kiowa Indian (uncredited)
Nicolás Jasso
Kiowa Indian (uncredited)
Eddie Little Sky
Indian Scout (uncredited)
Raúl Martínez
Kiowa Indian (uncredited)
Jose Salas
Kiowa Indian (uncredited)
Isabel Vázquez
Old Indian Woman (uncredited)








Released
en
- #based on novel or book
- #attack
- #massacre
- #private
- #wild west
- #cheyenne
- #us military
- #colorado territory
- #indigenous peoples
- #1860s
- #1870s
- #sand creek massacre
Reviews

**_Playful Western Romance sandwiched between two brutal massacres_** After a paymaster cavalry unit is slaughtered by the Cheyenne in 1877, a surviving soldier and Indian sympathizer team-up to get back to the nearest fort (Peter Strauss and Candice Bergen). The young man struggles with contempt for what he considers a treasonous attitude along with his growing affection for the brash woman. T
The R-rated cut of SOLDIER BLUE (1970) contains 100 minutes of a G-rated romance, bookended by 15 minutes of graphic, blood-soaked atrocities. Director Ralph Nelson doesn't pull any punches; disfigurement, immolation, decapitation, and impalement (amongst other acts of barbarity) splash across the screen - often in Sam Peckinpah-style slow motion. These opening and closing scenes have power; the p











