Fort Shallan serves as the setting for allegorical explorations. The Last Frontier, also known as Savage Wilderness, is directed by Anthony Mann and features a screenplay by Philip Yordan and Russell Hughes, based on the novel The Gilded Rooster by Richard Emery Roberts. It stars Victor Mature, Guy Madison, Robert Preston, James Whitmore, and Anne Bancroft, with music composed by Leigh Harline and cinematography by William Mellor. After Chief Red Cloud (Manuel Dondé) decides he’s had enough of the army encroaching on his territory, he forces three mountain men to leave the area. Led by the untamed Jed Cooper (Mature), they then go to Fort Shallan and accept jobs as scouts for the military. By the time The Last Frontier appeared in Anthony Mann's filmography, he’d already made a name for himself in both film noir and Western movies. Here, he manages to combine aspects of both genres into an interesting and entertaining movie. Filmed on location in Puebla, Mexico, with Popocatépetl Volcano providing a striking and impressive backdrop, William Mellor's involvement was a good choice, ensuring that the CinemaScope/Technicolor visuals really stand out. But it’s not just the beauty that is noticeable; there’s also a sense of ruggedness and wildness that aligns well with the story’s thematic and allegorical elements. This shouldn’t come as a surprise to anyone familiar with Mann's Western films. It’s somewhat disappointing that this isn't a sweeping adventure epic, because all the necessary components are present for one, although there is action—particularly the final battle against Red Cloud's forces, which is quite exciting—the emotional struggles, suppressed feelings and military madness within Fort Shallan more than make up for it through character development. Mann uses some clever camera techniques and well-composed shots to keep the visual experience from being ordinary, while Harline provides a supportive musical score that doesn’t distract. The cast delivers solid performances. Mature gives one of his best portrayals, blending masculine traits with a sense of sadness, Whitmore is dependable and believable, and Preston overcomes his usual stiffness to bring life to his role as the strict Colonel Marston. Madison deserves special mention; as Captain Riordan, he avoids overacting, ensuring that his pivotal character holds everything together. Bancroft seems out of place at first—her appearance and costume are unusual—but her ability shines through, preventing her character from being a mere decorative presence; she delivers a strong performance without resorting to melodrama. The ending is regrettable, feeling completely disconnected from what came before, so it’s not surprising that it was imposed by the studio against Mann's wishes. Still, forgive them for they know not what they do. It earns a 7/10.

Source on TMDB