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Five Bloody Graves (1969)

A lone gunman hunts the fearsome Apache Satago across the plains of the Wild West. When Satago's marauders ambush a stagecoach, the gunman rides to the rescue of the trapped passengers and ... See full summary »

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Cast

Cast overview, first billed only:
...
Ben Thompson
...
Jim Wade
...
Clay Bates
...
Boone Hawkins
...
Kansas Kelly
John 'Bud' Cardos ...
Joe Lightfoot (as John Cardos)
Darlene Lucht ...
Althea Richards (as Tara Ashton)
Ken Osborne ...
Dave Miller (as Kent Osborne)
Vicki Volante ...
Nora Miller
...
Rawhide (as Denver Dixon)
Ray Young ...
Horace Wiggins
Julie Edwards ...
Lavinia Wade
Fred Meyers ...
Driver
Maria Polo ...
Little Fawn
Jill Woelfel ...
Val
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Storyline

A lone gunman hunts the fearsome Apache Satago across the plains of the Wild West. When Satago's marauders ambush a stagecoach, the gunman rides to the rescue of the trapped passengers and helps them in their last stand against the deadly Indians. Written by Jonathon Dabell <J.D.BC602070@pixie.ntu.ac.uk>

Plot Summary | Add Synopsis

Taglines:

Lust-Mad Men and Lawless Women in a Vicious and Sensuous Orgy of Slaughter!

Genres:

Western

Certificate:

R | See all certifications »
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Details

Country:

Language:

Release Date:

1 February 1970 (USA)  »

Also Known As:

Five Bloody Days to Tombstone  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

A segment of the theme music "The Awakening" by John Pearson was later used as the theme for ITV's "News at Ten" in the UK. See more »

Goofs

One character tells another that Yaqui Indians and Apache Indians are the same tribe, the only difference being that Mexicans call them "Yaquis" and Americans call them "Apaches". That is not true. Yaquis and Apaches are two entirely different tribes and have little in common. The Apaches were fierce, brutal and warlike, regularly attacking American whites, Mexicans and other Indian tribes (including the Yaquis), often simultaneously, and regularly stole horses, rustled herds and kidnapped women and children from other tribes, Mexican villages and US settlements. The Yaquis were a much less aggressive and warlike tribe, existing mainly by subsistence farming and keeping to themselves in the mountains. See more »

Quotes

Clay Bates: [after negotiating with the Yaqui chief] He just gave us two days to get out of the territory.
Horace Wiggins: Two days? Then what?
Clay Bates: Supper. Supper for ants.
Horace Wiggins: Ants for supper? Oh, no!
Clay Bates: Oh, shut your yap.
Horace Wiggins: [finally catching on] You mean WE'RE the supper?
See more »

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User Reviews

 
Sad excuse for a western (or anything else)
26 May 2006 | by (California) – See all my reviews

There's one saving grace in this movie: the scenery. It was shot in some rugged and truly beautiful country in Utah, but Al Adamson is such an incompetent hack of a director that he doesn't really do anything with it--it's just kind of "there" in the background, and the few times where you get a glimpse of some of the spectacular views that SHOULD have been seen a lot more often, it looks like Al just happened to be pointing the camera at that particular spot rather than actually having planned the shot (although "Al Adamson" and "planned the shot" are two phrases that don't usually belong in the same sentence). Few things in this film make sense, starting with the title--even if anyone could figure out exactly what a "bloody grave" actually is, there are a lot more than five people killed, the only graves shown are at the end of the picture, and there are only four of them. Having a title that is not only senseless but untrue should give you an idea of what's to come, and since this is an Al Adamson movie, it doesn't fail to live up--or down--to that expectation.

The "action" is laughably inept, as it invariably is with any Adamson film. Scenes seem to be inserted out of nowhere. At one point there's a shot of the survivors of an Indian attack holed up among some big rocks in a dry, desert area awaiting another attack. The next shot shows a half-dozen Indians charging through a lush, green valley, yelling and whooping. The next shot is of the same people in the same group of rocks, but you can't see or hear the Indians. The next shot is the yelling and whooping Indians charging through the valley again. Then back to the shot of the people in the rocks. And that's it. There's no Indian attack, the valley the Indians were charging through is never seen again and, come to think of it, neither are the Indians. As further proof of Adamson's razor-sharp film-making skills, during an attack on a ranch house the number of Indians keeps changing--six attack the house, two of them are killed and one rides away. So where are the other three? Then one Indian fires a burning arrow at a ranch house from a distance of about five feet, and the house proceeds to burn to the ground in about ten seconds. Throughout the movie there's a hilariously pretentious voice-over from "Death" that makes no more sense than anything else. Adamson did manage to get a few professional actors for the picture--John Carradine, Scott Brady, Jim Davis, Paula Raymond--but he also populated it with several of his usual gang of inept "discoveries": Kent Osborne, John Cardos, Vicki Volante. Cardos isn't all that bad, actually, but Osborne and especially Volante are awful. Darlene Lucht (here billed as Tara Ashton) plays one of the prostitutes on a wagon attacked by the Indians, and she's actually not bad at all (and a real beauty, to boot). But the idiotic script (an example: Ben, who's supposed to be the Indian "expert", says that Yaqui Indians are actually Apaches but that the Mexicans call them Yaquis. That is flat-out untrue; Yaquis and Apaches are two entirely different tribes), the badly done "action" scenes, the confused editing, the wildly inappropriate music score (while Joe Lightfoot is chasing the man who raped and murdered his wife, the music that's playing is a pseudo-jazz/rock tune you'd hear in a '60s teen musical with go-go dancers in a cage doing the frug in a "hip" nightclub) all combine to make this even more of an atrocity than the usual Adamson epic. I realize this is an Al Adamson picture, but this one is a stinker by even his almost non-existent standards. Don't waste your time.


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