Sergeant Foggers and two confederate soldiers lay their hands on gold bullion belonging to the army, taking at the same time a certain Ben Akajnian hostage. Then they bury the loot near an ... See full summary »
Former secret agent Robert Elliot (Coburn) will be promoted to government advisor. In order to make sure no-one will ever know about his dirty past, he has invented a very ingenious plan to... See full summary »
Duffy is a cunning aristocrat of criminals who is hired by Stefane, a young playboy, to hijack a boat carrying several million dollars of his father's fortune. The plot succeeds, with a ... See full summary »
Circuit-riding Texas lawyer Timothy Higgins defends a former girlfriend against a murder charge stemming from an extortionist's threat to reveal her shady past. Through adroit courtroom ... See full summary »
A stranger in a Western cattle-town behaves with remarkable self-assurance, establishing himself as a man to be reckoned with. The reason appears with his stock: a herd of sheep, which he ... See full summary »
A cold hearted American hit man goes to Europe for 'one last score'. His encounter with a beautiful young woman casts self doubt on his lifeblood, and influences him to resist carrying out the contract
Robert Culp plays Bracken, whose life seems perfect until his wife Ellen and their children are kidnapped by terrorists one day. After failed attempts to capture them back by the police, ... See full summary »
A reluctant gunslinger tires of having to defend himself at every cow town he visits, so he adopts an alias and continues his wandering. At an outpost run by a father and young son, he gets... See full summary »
Charles Marquis Warren
Sergeant Foggers and two confederate soldiers lay their hands on gold bullion belonging to the army, taking at the same time a certain Ben Akajnian hostage. Then they bury the loot near an isolated waterhole in the desert. Some time later, Lewton Cole, a professional gambler, fights a duel with one of the robbers, kills him and finds the map of the treasure on his body. Stopping at the small town of Integrity, Cole, in order to escape Sheriff Copperud locks him up in his own jail-house, steals his horse and even finds the time to "seduce and abandon" Billee, the sheriff's comely daughter. The indignant father catches up with Lewton, arrests him and grabs the gold. But Foggers and his accomplice attack him, relieve him of the treasure and free Cole... Written by
Even though actor Jay Ose is only listed as "bartender" in the credits, James Coburn referred to him by his real first name, Jay. See more »
When George, the hotel clerk, gives the sheriff a handgun, he says it was taken off of John Wesley Hardin, by Constable John Selman, who had shot Hardin on a Monday afternoon at the Acme Saloon in El Paso Texas. But the opening of the movie says that the action takes place in 1884. In 1884, Hardin was in Huntsville State Prison, serving 14 years for the 1878 shooting of a Texas lawman. The shooting of Hardin by Selman in the Acme Saloon in El Paso would not occur for another 11 years: on August 19, 1895-indeed a Monday-three years after Hardin's release from prison in 1892. It is doubtful any guns were removed from Hardin that day, because the sheriff of El Paso had outlawed the carrying of firearms within city limits. See more »
Generally, I don't like it when these comments about movies degenerate to political diatribes, but with the reaction to this movie, I must respond. What the PC crowd doesn't understand about "Waterhole Number 3" is that in it Coburn played an amoral anti-hero who harbored a great degree of cynicism about hypocritical conventions. Therefore, the "horrible rape sequence" that has their panties in such a twist was merely part of his interpretation of how such a man would behave in a lawless environment. It would have been completely out of character for him to suffer an attack of scruples when confronted with a sexy gal alone in a barn. Besides, in the nineteenth century, feminism didn't even exist and women WERE men's playthings, whether Gloria Steinem can handle the concept or not. For them, to be kept barefoot and pregnant was reality, not an archaic state of being ridiculed by glorified lesbians whose primary goal in life is to control their "reproductive rights." Back in them days, folks, pioneer women had up to two dozen kids and lost a good many of the brood to disease, accidents, and murder. The feminine role was well-defined and there was no discussion about it. In point of fact, the "gentle rape" committed by Coburn upon the nubile young woman's tender virginity might not have been considered rape at all simply because he married her afterward. Some other disturbing facts of the era: Gays were not tolerated, let alone allowed to marry, but pistol-whipped merely for thinking their perverted thoughts. Indians, both good and bad, were driven nearly to extinction for daring to believe they had innate rights on the land. Many of the women of today would have been working in whorehouses, not telling the rest of us what constitutes modern standards of morality, either that, or they would have been slapped silly and sent slinking into the corner to mull over the reality of the day. To sit in front of your computer and actually attempt to apply PC hypocrisy to such a wild and lawless era is so absurd that it beyond comprehension.
Furthermore,in the sixties (when this movie was made), a woman couldn't go up to a man's room at 2am, have consensual sex, and the next day claim she was raped, like that broad did to Mike Tyson. Such inherently suspicious bs would have been laughed right out of court. There was no such thing as "date rape," "spouse rape," or "sexual harassment." If a man caught his wife in the sack with another man, he could shoot them both and get off with a temporary insanity plea or not even be charged at all. Neurotic Generation X, with their condoms, Ipods, cell phones, piercings, tats, shaved pubic areas, and shallow, money-grubbing ways weren't even born yet, hence interesting flicks like this one could actually be made and distributed. As for the much ballyhooed rape, something very similar happened in "High Plains Drifter" and who complained then? It's a movie, folks. If you can't separate fact from fiction, perhaps you'd better turn off the set and get a life.
Not one of you mentioned the gunfight sequence at the beginning of the movie, which set the tone for this film and should have sent you scurrying to turn if off. Challenged by some jerk to a gunfight, Coburn steps out the door of the saloon, casually approaches his mount, pulls out his saddle gun, rests it atop his saddle, and unceremoniously drops the dope who is standing in the middle of the street, stupidly believing that such differences of opinion were supposed to be resolved in a certain way. Coburn thumbs his nose at authority, convention, tradition, and all the rest of the hypocritical nonsense to which our woefully misguided country is devoted to today. Now, it's as if the sixties never even happened. We've got the Bible-thumping, hymn-singing, pew-sitting hypocrites on the one hand, constantly extolling the spectre of their children's tender psyches as an excuse for their own intellectual, spiritual, and moral cowardice, and the man-hating, feminist "global warming" advocates on the other hand. Both groups shouldn't be allowed to watch good movies like this. Their extremely fragile belief systems can't take it.
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