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 ... See full summary »
Sheriff John Higgins quits and goes into prospecting after he thinks he has killed his best friend in shooting it out with robbers. He encounters his dead buddy's sister and helps her run ... See full summary »
Texas cattle baron Stiles killed John Clayborn's parents ten years earlier. Now a lawyer, Clayborn tries legally to break up Stiles' water monopoly and rustling operation. When that fails he must use force.
Pat's ability as a logging/mining camp fighter sets him up to box prizefighter Corrigan. Unknown to his supporters, he's actually in collusion with Corrigan to throw the fight - until he runs into reporter Maude.
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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