J.D. Cahill is the toughest U.S. Marshal they've got, just the sound of his name makes bad guys stop in their tracks, so when his two young boy's want to get his attention they decide to ... See full summary »
Joe Kidd is a former bounty hunter and all-around tough-guy in the American Southwest. When a band of Mexicans find their U. S. land claims denied and all relevant records destroyed in a courthouse fire, they turn to force of arms. Luis Chama is their charismatic leader, spouting revolutionary rhetoric and demanding land reform. A wealthy landowner with interests in the disputed area, Frank Harlan, decides to settle things his own way. He hires a band of killers and wants Joe Kidd to help them track Chama. Initially, Kidd wants to avoid any involvement, until Chama makes the mistake of stealing Kidd's horses and terrorizing his friends. Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
Writer Elmore Leonard certainly did know something about classic firearms. From Frank Harlan's Custom Savage 99 (1899), Olin Mingo's Remington-Keene sporter (1880) in .45-70, Lamarr Simms Mauser C-96 (1896) broomhandle and Joe's Cased Ross Rifle sporter model M-10 (1910) in .280 Ross. Leonard took special care to ensure all weapons (even the optics) were period accurate for that movie, being set in pre-statehood New Mexico territory (1912). See more »
Just before Mingo is shot by Joe Kidd with the sniper rifle, Mingo's glove is shown already covered with blood, holding his own rifle. After he reacts to being shot in the chest, he presses the glove to his chest wound, then holds up his hand to reveal the blood. See more »
[With Lamar pointing a gun at him]
Lamar, I gotta dollar here says I can break your neck 'for you get that rig moved a half inch.
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Critics who point out the flaws in Joe Kidd are dead-on. Few A-budget Westerns are as muddled as this scripted mess. Just try to figure out the murky motivations that guide Eastwood's shifting loyalties as he bounces from Duvall to Saxon to the sheriff, or is it the other way around. By film's end, my head was spinning. And just why would Chicano insurgent Saxon entrust his fate to an Anglo judicial system he so clearly despises. Figure that one out too. While through it all Clint gives us his best humorless squint. One thing for sure--he's getting no help from director Sturges who appears to have gone on holiday. Throw in a gratuitous seduction scene that's nearly laughable, a swipe at social conscience replete with phony Mexican accents, an incredibly staged train crash, and the end result is Eastwood's weakest Western. I realize that for many fans, "Eastwood" and "bad Movie" are a contradiction in terms. Nonetheless, the real train wreck here is the movie itself.
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