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Duel at Diablo (1966)

Approved | | Western | 15 July 1966 (UK)
In Apache territory, a supply army column heads for the next fort, an ex-scout searches for the killer of his Indian wife, and a housewife abandons her husband in order to re-join her Apache lover's tribe.

Director:

Writers:

(screenplay), (screenplay) (as Michel M. Grilikhes) | 1 more credit »
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Cast

Complete credited cast:
...
...
Toller
...
Ellen Grange
...
Willard Grange
...
Lt. Scotty McAllister
William Redfield ...
Sgt. Ferguson
...
Maj. Novac
Ralph Nelson ...
Col. Foster (as Alf Elson)
...
Cpl. Harrington
...
Chata
...
...
Clay Dean
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Storyline

Lieutenant McAllister is ordered to transport several ammunition wagons to another fort through Apache territory with only a small troop of rookie soldiers to guard them. Along for the ride is ex-scout Jess Remsberg who is trying to track down Ellen Grange, who, having recently been freed from Apache captivity, has mysteriously run off again to rejoin them. Remsberg frees Ellen again and leaves her with the embattled soldiers as he rides off to the fort, not only for help, but to find the man who killed and scalped his Indian wife. Written by Doug Sederberg <vornoff@sonic.net>

Plot Summary | Add Synopsis

Taglines:

Afraid to turn their backs on each other they fought side by side against the Indian!

Genres:

Western

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

15 July 1966 (UK)  »

Also Known As:

29 at Duel  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| (Westrex Recording System)

Color:

(DeLuxe)|

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

In 1964 it was announced that the director Ralph Nelson and Sidney Poitier, the Oscar-winning star and the director of Lilies of the Field (1963) would be re-teaming for "The Seventh File", an FBI thriller. That project never came to pass, but Nelson and Poitier teamed up for this film. See more »

Goofs

Apaches never would have left pony tracks across the trail to alert the soldiers to their presence. They would have crossed the trail either behind or way ahead of the cavalry and not given away their presence, or had someone wipe out the tracks. And having spotted the tracks heading to the canyon, the cavalry never would have entered the canyon without posting troops along the rim. See more »

Quotes

Chata: You white eyes want us all dead, but when I die, it will not be as a reservation Indian. I will die Apache - killing my enemies.
See more »

Crazy Credits

The United Artists logo is sliced off the screen with a bloody knife, slicing an "X" across the screen, revealing the opening scene. At the end, the same knife slices the live picture away, as (sort of) a fade out. See more »

Connections

Referenced in American Masters: Sidney Poitier: One Bright Light (2000) See more »

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User Reviews

 
Tense, gripping Western
4 April 2008 | by (United States) – See all my reviews

A bloody, brutal Western where the action never stops.

First, the Bad (let's get that out of the way). Like all Westerns, the plot has its flaws -- with an Indian war party off the reservation they would not have sent a shipment of ammunition through a narrow canyon guarded by only one squad of green recruits on unbroken/partly saddle broken horses. But so what? In the classic Western Stagecoach the Indians would have shot the horses pulling the stage and then finished off the passengers as opposed to shooting at the people in the coach. Also, Sidney Poitier's silver vest remains immaculate throughout the long desert journey and several pitched battles.

However, the movie moves so fast that you never really have time to stop and remind yourself that you have to "suspend disbelief" to watch it.

Next, the Good. On one level, it's a classic cavalry vs. Indians story. But viewed through a different lens than in earlier Westerns; the Indians are shown with some perspective, if not total sympathy, which probably makes this one of the first Westerns to get beyond a one dimensional view of them. There are a variety of interesting subplots which flesh out the major characters and keep things twisting, turning, and moving along between the combat scenes. In fact, almost every one of the characters is angry about something, creating lots of tension between them. James Garner's character is looking for the men who raped and killed his (Indian) wife, Dennis Weaver's Will Grange is angry about almost everything, including that his wife was held captive by the Indians, Sidney Poitier's Toller (now a civilian) is mad that circumstances forced him to accompany the cavalry on this mission ....

Garner and Poitier give excellent performances and the other actors rise to the occasion, helping us forget that they are, in fact, Scottish or Danish.

At the end of the movie the various subplots are tied up and the issues are resolved with (in one case) a very surprising twist.

On top of that, you have a wonderful (almost superb, for this movie) Neal Hefti score, which always seems to correctly reflect the mood of the scene. It fits the movie even better because it makes heavy use of Western/military instruments: guitars, horns, drums, ....

Finally, the Ugly. There are some fairly graphic scenes here (although not exactly like in the Wild Bunch or Saving Private Ryan). The Apaches could torture with the best of them and some of that appears in this movie, although we're spared the close-ups.

All in all, I must say that this is one of my long time favorites. I hope you enjoy it as much as I do!!


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