Although the Civil War has been raging around him for some three years, literally being fought within miles of his farm, he does not concern himself with the issues or with loyalty but only with his own and his family's welfare.

As soon as the vows are said, a corporal who has been waiting in the rear of the church comes forward to announce that Sam is wanted back immediately.

Shortly after Sam leaves Ann goes into labor, giving birth to a baby girl, whom they name Martha in honor of Charlie's late wife.

When a Union patrol comes on them, they take Boy as a prisoner of war, mistakenly thinking, based on the cap, that he is a rebel soldier.

Gabriel, who has been told he is free by a black Union soldier, runs to tell the Andersons what happened and then, assured by Jennie that it is true that slaves in the Confederacy have been declared emancipated, heads out on his own.

Sam leaves with the Andersons, telling the soldiers to burn the train and go home, knowing that the South has no chance of winning the war.

A young sentry, startled awake by the sound of horses, takes a shot at Jacob, killing him instantly.

The next day at the breakfast table, Charlie begins his standard prayer, but is so heartbroken that he can't finish it.

Howard Thompson of The New York Times called the film "a pretty good Civil War drama" with Stewart "perfectly cast," though he thought it was "too long.

"[3] Variety stated that "the Technicolor film, despite a neuter title, packs drama, excitement and an emotional quality certain National Parks particularly reflected in the climax — which should find better-than-average reception in the general market ... Stewart, seldom without a cigar butt in the corner of his mouth, endows his grizzled role with a warm conviction.

"[4] Philip K. Scheuer of the Los Angeles Times called it "a curious film for this day and age, a kind of anachronistic throwback to the bucolic ...

"[5] Leo Sullivan of The Washington Post praised it as "an engrossing film with lots of heart and even a soul," adding, "Playing with splendid conviction, Stewart forgoes his usual tricks to gain sympathy for this widower who has raised six sons and an equally sturdy daughter.

"[6] The Monthly Film Bulletin wrote, "Basically sentimental, the film even includes a scene where the longstanding but still sorrowing widower philosophizes about life over his wife's grave, but the treatment often has a freshness and humour which show that McLaglen has learned from his admiration for John Ford ... James Stewart, whose laconic drawl makes the dialogue sound funnier than it really is, gives one of the best performances of his career.

"[7] The film was particularly successful at the box office within the state of Virginia, the movie's locale, where it broke records for ticket sales.

The film was adapted as a hit Broadway musical in 1975, which won John Cullum his first Tony Award for Best Actor.