There is more yucky brownface in this film than a busted freezer full of melted fudgesicles. And the dialogue given Burt Lancaster and Jean Peters to mouth is of the stiff, declamatory, Shakespeare made easy variety that was de rigeur in 50s/60s westerns featuring Native Americans. And the happy ending feels completely wrong. Yet there are sustained parts of this early Robert Aldrich work that merit one's attention. Like the hellish vision of rowdy St. Louis at night as Lancaster's title character literally falls into a chaotic, Caucasian world of fire engines, carnival barkers, ladies of the evening and sneering youths. I also liked the way Aldrich first sets up a sexist relationship between Lancaster and Peters and then undercuts it as she teaches the very macho Massai how to plant and grow corn. And whenever the great character actor John McIntyre is on screen, portraying the world weary, romantic, cynical and tough Indian scout Al Sieber, I notice that James R. Webb's dialogue actually approaches the land of nuance. Aldrich must have noticed this too because when he revisited this subject eighteen years later, in the better "Ulzana's Raid", he made the Sieber-like scout the central character and had Lancaster play him. Give it a B minus.