| Terence Stamp | ... | Blue | |
| Joanna Pettet | ... | Joanne Morton | |
| Karl Malden | ... | Doc Morton | |
| Stathis Giallelis | ... | Manuel | |
| Sally Kirkland | ... | Sarah Lambert | |
| Robert Lipton | ... | Antonio | |
| Ricardo Montalban | ... | Ortega | |
| Sara Vardi | ... | Inez | |
| James Westerfield | ... | Abe Parker | |
| Kevin Corcoran | ... | Rory Calvin | |
| Ivalou Redd | ... | Helen Buchanan | |
| Dorothy Konrad | ... | Alma Wishoff | |
| Helen Kleeb | ... | Elizabeth Parker | |
| Michael Bell | ... | Jim Benton | |
| Anthony Costello | ... | Jess Parker | |
| Joe De Santis | ... | Carlos | |
| Carlos East | ... | Xavier | |
| Peggy Lipton | ... | Laurie Kramer | |
| rest of cast listed alphabetically: | |||
| Alma Beltran | ... | Cantina Proprietress | |
| Wes Bishop | ... | Settler | |
| Jerry Gatlin | ... | Wes Lambert | |
| Bill Shannon | ... | Police Chief (as William Shannon) | |
Directed by | |||
| Silvio Narizzano | |||
Writing credits(in alphabetical order) | ||
| Ronald M. Cohen | screenplay | |
| Ronald M. Cohen | story | |
| Meade Roberts | writer | |
Produced by | |||
| Judd Bernard | .... | producer | |
| Irwin Winkler | .... | producer | |
Original Music by | |||
| Manos Hatzidakis | (as Manos Hadjidakis) | ||
Cinematography by | |||
| Stanley Cortez | |||
Film Editing by | |||
| Stu Linder | |||
Art Direction by | |||
| Albert Brenner | |||
| Hal Pereira | |||
| Al Roelofs | |||
Set Decoration by | |||
| Claude E. Carpenter | |||
Costume Design by | |||
| Edith Head | |||
Makeup Department | |||
| Nellie Manley | .... | hair stylist supervisor | |
| Gary Morris | .... | makeup artist | |
| Wally Westmore | .... | makeup supervisor | |
| Bertha French | .... | hair stylist (uncredited) | |
Production Management | |||
| Joseph E. Kenney | .... | unit production manager | |
| John Morrison | .... | unit production manager: second unit | |
Second Unit Director or Assistant Director | |||
| Yakima Canutt | .... | second unit director | |
| Jack Corrick | .... | assistant director: second unit | |
| Joseph Lenzi | .... | assistant director | |
Art Department | |||
| Tony Wade | .... | property master (as Anthony Wade) | |
Sound Department | |||
| John R. Carter | .... | sound recordist | |
| John Wilkinson | .... | sound recordist | |
Visual Effects by | |||
| Farciot Edouart | .... | process photography | |
Stunts | |||
| Yakima Canutt | .... | stunts (uncredited) | |
| Gary Combs | .... | stunts (uncredited) | |
| Jerry Gatlin | .... | stunts (uncredited) | |
| Chuck Hayward | .... | stunts (uncredited) | |
| Gary McLarty | .... | stunts (uncredited) | |
| Bill Shannon | .... | stunts (uncredited) | |
Costume and Wardrobe Department | |||
| Pat Kelly | .... | wardrobe: men | |
| Ann Landers | .... | wardrobe: woman | |
Music Department | |||
| Leo Arnaud | .... | orchestrator | |
| Jack Hayes | .... | orchestrator (uncredited) | |
| Leo Shuken | .... | orchestrator (uncredited) | |
Other crew | |||
| Wayne Fitzgerald | .... | title designer | |
| Doris Grau | .... | script supervisor | |
| Sally Kirkland | .... | dialogue coach | |
| Anthony Pratt | .... | visual consultant | |
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| The Phantom Rider | Home on the Prairie | The Tulsa Kid | Chisum | The Carson City Kid |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Romance section | IMDb USA section |
Although it has been castigated by the critics, this movie still has a lot going for it and is definitely worth seeing. Given a big budget for its time, it has outstanding photography, beautiful scenic vistas, a very good music score and great stunt work by the legendary Yakima Cannutt. It also has Terence Stamp, who is always worth watching, no matter what he does (if we skip Priscilla, Queen of the Desert). Yes, it is not hard to tell that he is an Englishman playing an American raised by Mexicans, but his lines are few and far between, and who cares anyway? If we can have Englishmen and Australians playing Roman gladiators without critical comment, let's give this one a break. I admit that, although the plot line intended to contrast a violent past with the power of love, a complete lack of tenderness in the love scenes was laughable. But overall, this movie beats most of John Wayne's westerns by a mile.