Harry is a barely functional human. He meets an old friend who is having marital problems as Harry is about to leap off of a bridge. His friend decides that Harry is the man to take his ... See full summary »
Promising young racing car driver Joe Joe Quillico leaves the stock car racing scene in the United States in order to pursue Grand Prix racing in Europe. After limited success he manages to... See full summary »
During the Civil War Confederate soldiers escape from a Union prison and head for the Mexican border. Along the way they kill a Union courier who has a message that the war is over. Keeping the message a secret, the Captain has his men go on and they soon find themselves in a battle with the Union search party who also is unaware of the war's end. Written by
Maurice VanAuken <firstname.lastname@example.org>
Several weeks into production, when Corman withdrew as co-producer, he was replaced as director by Karlson. See more »
When Emily tries to escape horseback, and hits Capt Bentley with a sword, the blade can be seen bending and flopping. See more »
[as the cavalry detail approaches the cantina, several Mexican prostitutes meet them on the porch excitedly trying in Spanish to tell them of the trouble the Confederates have caused - one of them approaches Major Wolcott directly]
Maj. Tom Wolcott:
What does she want?
Sir, they're women... more or less. I don't think they know.
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Others have nailed it. It's the casting that makes this movie interesting. Makes it worth watching too. Many names here. Ironically, Harrison Ford, probably the biggest name of all when one takes the long view, was an absolute total no-named nobody in 1967. Glenn Ford was the only true Hollywood movie star in the cast, although probably a little past his prime at this point. Meanwhile, Paul Peterson, Inger Stevens, and even Max Baer, Jr, who were household names in 1967, might well have younger folks these days scratching their heads, saying "Who?" But they were names then, mainly TV names of the day, but names nevertheless.
Based on the inspired casting, clearly somebody had some higher aspirations for this movie. Somebody was trying hard to inject superior production values into this project. Somebody wanted this to be a box office success, maybe even a noteworthy film. But, alas, whatever it was, something was lost along the way. We could speculate about it 41 years later, try to pin it on somebody, but why? No point to that. Suffice it to say that somehow somewhere before all was said and done it lost its edge.
Another consideration is the year, 1967. How could this offering ever hope to compete? As I've written elsewhere, 1967 was the very best year ever for movies. The Graduate, Cool Hand Luke, In The Heat of the Night, Guess Who's Coming to Dinner, Bonnie and Clyde, The Dirty Dozen. Remarkable films all. There might be one such notable movie of the caliber of those in any one year. Two would be better than average. But six in one year? Extraordinary indeed.
The point is that 1967 was a remarkably good year for movies. Of course it's hard to flatly state that it was the very best movie year ever, because how could one possibly measure that? It is based on pure opinion. But try this: name another year that was any better than 1967. No can do. So this is the stuff A Time For Killing was up against as competition for the box office dollar back in 1967. It never really had much of a chance. In another year it might have fared a little better. But in 1967 it got lost.
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