Talbot uses a phony land grant to rule thirteen million acres, taxing everyone heavily and evicting those who won't pay. The Three Mesquiteers becomes mysterious "night riders" to fight ...
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Nancy Evans, lovely circus owner, has a ranch that she's never visited, but for sentimental reasons won't sell to Mike Abbott. Her partners, secretly in league with Abbott, sabotage the ... See full summary »
The Mesquiteers capture a horse thief who escapes justice through a crooked judge. They gather signatures urging the governor to investigate but a friend with the petition is murdered. Stony is accused.
Duke falls for Flaxen in the Barbary Coast in turn-of-the-century San Francisco. He loses money to crooked gambler Tito, goes home and PL: learns to gamble, and returns. After he makes a ... See full summary »
Quirt Evans, an all round bad guy, is nursed back to health and sought after by Penelope Worth, a Quaker girl. He eventually finds himself having to choose between his world and the world Penelope lives in.
Talbot uses a phony land grant to rule thirteen million acres, taxing everyone heavily and evicting those who won't pay. The Three Mesquiteers becomes mysterious "night riders" to fight this evil. Written by
Ed Stephan <email@example.com>
[the outlaws are shooting through the windows of the building where the townsmen have holed up]
Well, they're askin' for it!
Yeah. Let's give 'em an answer.
[the townsmen return fire]
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The value of this today can be found in two things: the action -- that is, the obligatory saloon brawl, shootouts and horseback chases are all competent, and are filmed competently.
The writing: the writer places himself in this -- as 'the Forger'-- and through his 'writings' he pulls the villain's strings. The storytelling centers on the notion of changing identities -- Douglas playing an ex-con, who becomes a card shark, who assumes the mantle of 'the Don'.
And the heroes play the 'three Mesquiteers', who assume the identities of the 'Capequeros', who assume the identities of henchmen, who assume the 'identities' of corpses. It all resolves when the 'true identities' are revealed, and the villain is forced to extricate himself out of his false exterior through 'writing'.
On the whole, this is not a very good Western...the screenplay, acting and dialogue are horrible. Sherman has to get poor marks too, for giving all of this a pass. Ironically, it would take a Kurosawa to utilize Western themes and turn them into great storytelling, a la "Seven Samurai".
When you watch this, you can see where ideas came from for such spoofs as "Blazing Saddles" and "Three Amigos!".
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