Jean-Paul rebels against his bondage to his uncle, the Marquis de St. Malo, and journeys to the far-off Mayan hills of Guatemala seeking a hidden treasure. He is the rightful heir to his ...
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Fugitive bank robber Joe Maybe steals the identity of a marshal and rides into a town whose judge asks Joe to act as town marshal but an old flame almost betrays his real identity forcing Joe to claim she's his wife.
A pair of grizzled frontiersmen fight Indians, guzzle liquor, and steal squaws in their search for a legendary valley 'so full of beaver that they jump right into your traps' in this fanciful adventure.
Jean-Paul rebels against his bondage to his uncle, the Marquis de St. Malo, and journeys to the far-off Mayan hills of Guatemala seeking a hidden treasure. He is the rightful heir to his uncle's title and lands, and goes to Guatemala to win his fortune and come back and claim his heritage. Written by
Les Adams <firstname.lastname@example.org>
I had high hopes sitting down to watch Treasure of the Golden Condor, thinking that it might have been an inspiration for the Indiana Jones films. George Macready got the film off to a rousing start with his subtle yet vicious machinations, which he applied with aplomb throughout. Had the editing, directing and other actors been up to his level, the film could have been great, but I found it to be a shameless ripoff of the 1942 film, Son of Fury, starring Tyrone Power and George Saunders. In fact, it is a virtual line by line aping of the first film, with the tired recipe of switching out one exotic locale for another, and adding color. (If any of you readers ever saw that old Doris Day/Rock Hudson comedy film in which their movie studio is always shooting the same scene over and over, even the dialogue is identical, and only the uniforms of the bad guys changes, then you know what I mean! If not, the fact that such an old memory pops up over Goldon Condor...) Perhaps I am biased because I was taken aback 10 minutes into the film, with a deja vu broadside on my cranium, but I decided that as long as they top the first film, well, OK. Macready gets honorable mention, but come on, who could top Saunders as a villain? The color and cinematography were a plus, but in every other aspect, this film is an atrocious disappointment. Anne Bancroft's take on the calculating Comtesse de Malo was fine, but too brief; I think the cutting room floor has taken most of the nuance from her relationship with Cornell Wilde. The whole movie ended up no better than a go-through-the-motions remake.
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