Underrated and lesser known of the Wayne westerns, it came out the same year as Shane which is interesting considering the similarities. Remarkable too that this is one of the only classic westerns to adapt a Louis L'Amour novel. Like any viewer with modern sensibilities, however, I wish we didn't have to see Hondo's dog impaled by an Apache spear. In every respect this is a decent Wayne picture with a classic opening and western trope that has a throughline from Shane to Pale Rider: a lone figure and a man of mystery emerges from the western landscape; he knows the violent ways of the frontier and performs tough uncivilized deeds for the civilized folks in danger. On the subject of cinematography, there's a Fordesque quality to Wayne's memorable entrance on foot with his dog by his side.

He comes across a woman (Geraldine Page) and her boy on a homestead. She tells him her husband will be returning soon, so he stays to help out around the property, breaking in a wild horse, mentoring the boy, all while seeming to form an attachment. He suspects, although we don't yet, that she's lying about her husband; turns out he's been gone for months. Hondo also knows an Apache war band is on its way and the territory is not safe for a lone woman and her child. She's stubborn to stay where she is, however. When he leaves and reaches a nearby army fort, he encounters the real father: a drunkard and a lout who abandoned them. Back at the homestead an Apache war party arrives, led by Vittorio, admirably played by Michael Pate. He leaves her homestead unravaged on condition that he teach her child the way of the warrior.

Vittorio makes frequent visits to the homestead, insisting she can't live on her own and must choose a husband from his war party. This is a fascinating and more complex Native American character than typically portrayed in late 40s westerns. Meanwhile, Hondo fights with the real husband/father out in the frontier and is later captured by Apaches. Vittorio notices a photograph of the boy on his person and lets him go. Nearly killed, Hondo is dragged back to the homestead by the Apaches and Vittorio asks if this is her husband who was supposed to return. In a dramatic progression of tension and relief, she says yes. Hondo tells the truth about her husband's death at his hands, but she doesn't want her son Johnny to know.

The movie ends with an elaborate Apache attack on a wagon train and some exciting chases. Vittorio is slain in a skirmish with cavalry troops and Hondo kills the new Apache leader, the one who speared his dog, which routs the remaining indians. The wagon train regroups and proceeds to the army fort with Hondo in command. One of the special features revealed how this movie was made for 3D with some of the knife attacks jabbing directly into the camera in exaggerated fashion. In any event, the action is well-photographed and staged.

Central to this film is Wayne's and Page's restrained romance. Hondo ultimately finds redemption and humanity through his relationship with the widow. While the film offers many spikes in quality, it occasionally dips too with an ending that isn't exactly satisfying: Wayne's relationship with Page doesn't conclude as a love story, but more of an unrequited one in which Wayne gives his word he won't tell Johnny the truth about his father. The film ends ambiguously when he leaves her homestead to make his way back to the fort and fight the Apaches. We don't know if he's destined to come back in a few days or continue on as the veritable loner.