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I recently watched the 2003 DVD that contains the fully restored three
hour version of this classic western. For those of you not familiar
with the storyline, it revolves around the attempts of three rouges to
find a missing fortune in Confederate gold in New Mexico during the
Civil War. The 2003 DVD has an excellent audio commentary by film
critic Richard Schickel, who also collaborated with Eastwood on a
definitive Eastwood biography. I gave this film a 10 out of 10 star
ranking in IMDb. It scored 20 points in my ranking system, placing it
in fourth place all time.
Here's the Good:
- Eli Wallach and Leone created one of the great villains in the history of cinema. Tuco is equal parts amoral scourge, paisan sympatico and stand up comic. The only characters in the history of Westerns that compare are Little Bill in "Unforgiven", Judge Roy Bean in "The Westerner" and Joe Erin in "Vera Cruz". Gene Hackman and Walter Brennan both won Best Supporting Actor Oscars for those performances. If the Academy ever decides to start handing out retroactive awards, this would be a good place to start.
- The movie is notable for launching Clint Eastwood to life long international superstardom. Eastwood went on to direct and star in two Westerns that occupy the second and third places in my all time list, "Unforgiven" and "The Outlaw Josie Wales." If not for the success of TGTBTU, those films might not exist.
- The best soundtrack in the history of Westerns.....the signature laughing hyena, the eerie whistling, the soaring mariachi trumpets, and most importantly, the twangy guitar solo and macho male chorus constantly driving the plot forward. Other than the theme from "The Magnificent Seven", this is only Western soundtrack to become a part of the general popular culture. Hugo Montenegro's cover version reached number two on the Billboard charts in 1968.
- I call Leone's counterpoint between the long, flowing episodes of deep sentimentality and short bursts of graphic violence "John Ford on steroids". Coppola would copy this technique several years later in an even more gruesome scene in "The Godfather".
- Fantastic 10 minute opening sequence with no dialog, a homage to "Rio Bravo" and "Comanche Station". This is bookended at the film's climax by another spellbinding five minutes with no dialog.
- I admire Leone's bold decision not to sandwich in a gratuitous female romantic interest. Last "all guy" Western until "Brokeback Mountain" (just kidding).
- This may be the first "Vietnam" Western. This is impressive, since in 1965 when the story was conceived and written, opposition to the war was not yet fashionable.
- This was a watershed film for Westerns in terms of realism. It wasn't the first one to completely break with production code restraints, but it was the first popular and successful Western to do so. There would be no going back to the world where justice always prevails in the end, everyone's wardrobe is perfectly pressed, bullet wounds are bloodless and there are no gratuitous graphic rapes.
- Brilliant casting of Lee Van Cleef, a minor actor in many Westerns from the golden age of the '50's, including "High Noon", "The Bravados", "The Gunfight at the O.K. Corral" and "Ride Lonesome". His presence is one of many Leone homages in the movie to classic Westerns (including a number of references to 1948's "Yellow Sky"). The presentation of Van Cleef's facial features as sculpture reminds me of Boetticher's use of Randolph Scott in the Ranown cycle of films.
- The best use of the Civil War ever in a Western. The only competitors I'm aware of are "Dances With Wolves", "Major Dundee" and "Escape From Fort Bravo".
- It's impressive that the portrayal of the Civil War battle is realistically based on the Battle of Glorieta Pass, which took place in New Mexico in 1862. It is often falsely thought that this movie is set in Texas, where there were no major Civil War battles. This misinformation, spread by Leone himself apparently, has deceived some critics into thinking the basic setting of the movie is implausible.
- Finally, of the five Leone Westerns, this is the perfect blend of Leone's distinctive style with a clever, fast moving and entertaining plot. The other four movies are all fine films, but the first two "Dollar" movies were very low budget and Leone's style was still evolving. Meanwhile, in "Duck, You Sucker" and "Once Upon A Time in the West", Leone disconnected himself from the needs of his commercial audience. Leone was quoted by his biographer, Richard Frayling, as saying that he made OUTITW "for cineastes only". TGTBTU is satisfying for both scholars and popular audiences.
The Bad and the Ugly:
- I don't have much negative to say about this film. I've read critics who feel it is too long, that the story's not interesting enough, that the Tuco character is irritating. that Wallach's acting is hammy and that the premise of three criminals riding around loose during the Civil War is implausible. I don't think any of these arguments hold water. When it was released in the U.S. in 1968, it was roundly panned for its excessive violence. These complaints seem laughably quaint today in light of the orgy of graphic cinematic gore and sadism that has engulfed filmdom since the late '60's.
*** This review may contain spoilers ***
This is a well made revenge yarn starring Gregory Peck as a small
Arizona cattle rancher out to avenge the rape and murder of his wife.
The bulk of the movie follows him as he leads a posse tracking four
suspects attempting to escape to Mexico. This was a well done and
compelling drama. I gave it six stars out of 10 in IMDb. It scored 14
points in my IMDb ranking. Both are good scores.
Here were its better points:
- The four villains are played by very good actors: Stephen Boyd, Albert Salmi, Lee Van Cleef and Henry Silva. More importantly, their characters are very well developed. The script manages to create sympathy for them, even though they have few redeeming qualities. Stephen Boyd is excellent and carries the movie on his back.
- The bulk of this movie was filmed on location in a very attractive mountainous area of northern Mexcio. The exciting manhunt takes place against stunning vistas and is accompanied by one of the better musical scores I can remember. I particularly enjoyed the horns, including some intense passages by the orchestra's trombone section.
- I'm not a big Gregory Peck fan, but he was well cast and credible in this role.
- The movie is thematically interesting and complex. I'd rather not discuss in detail, as it would probably give too much of the movie away.
- There were very well developed Mexican themes. This included Mexicans who can actually speak Spanish, if you can believe it. It reminded me of the extended French dialogue among the trappers in Howard Hawk's "The Big Sky".
Here's what kept the movie from being better:
- Joan Collins comes close to sinking the whole ship as the gratuitous romantic lead.
- Boyd's character should have had more screen time. I would like to have seen the outlaw group limited to just Silva and Boyd. His malevolent charisma was great counterpoint to Peck's grim, emotionally repressed assassin.
- Peck is a cattle rancher. They should have explained why he is such an effective and experienced manhunter.
- I found the presence of a 100% Catholic town in 1880's Arizona to be inaccurate. The majority of white settlers at this time were biblical Protestants, who wouldn't have been caught dead attending a Catholic mass. Certainly the town could have had an old Spanish mission and many Catholic Mexican residents who attended it, but I didn't see any Mexicans in the town. The congregants all appeared to be white. This was probably just Hollywood once again displaying its total ignorance of Christianity.
- There were a number of other plot holes. For example, Peck's character lives too close to town to appear as a "mysterious stranger". Surely rape/murders weren't so common in the area that the death of his wife hadn't been big news six months earlier. Same thing with the hangman, whom someone should have been able to recognize. At one point, Joan Collins teleports over 100 miles of rough country.
And finally, what is the justification for letting Henry Silva's character go free at the end? He was an accessory to two on screen murders and an the attempted murder of a sheriff. And let's not forget he had already been convicted and sentenced to hang for crimes committed before the movie began. Since the movie is supposedly a celebration of "doing the right thing", this must just be an idiotic mistake.
- Production code rapes were really weird. This one was very similar to the one in "Rancho Notorious". The rapist makes sexually suggestive advances to the victim, the camera cuts away from them, there are a couple of screams from the woman, then the rapist almost immediately runs back on camera. The rape seemingly takes place in about 15 seconds of live time. This isn't a criticism, just an observation.
*** This review may contain spoilers ***
This movie is mostly notable as the only Western that Burt Lancaster
and Kirk Douglas starred in together. It doesn't disappoint, as both
Hollywood icons turn in fine performances. Douglas has a much juicier
role as Doc Holiday, while Lancaster plays the strong and silent Wyatt
Earp. I really liked this movie. I gave it six stars in my IMDb
ranking. It scored 14 points in my ranking system, which is pretty high
for a "town" Western.
Here are some positive things that stood out to me:
- Both Lancaster and Douglas had a tendency to overact when playing extroverted characters ("The Rainmaker", "The Indian Fighter"). Playing a consumptive, Douglas was forced to tone his character down. The stolid Earp played to Lancaster's strength. He's usually at his best when quiet and subdued (one exception being his fantastic Joe Erin in "Vera Cruz").
- Jo Van Fleet did a nice job as Kate the Whore. What better way to establish Holiday's character than to have his girlfriend pull a knife on him in the opening scene? You know you're a low life when......
- There's not much in this movie that's spectacular. Sturges just does all the small things right and they add up to an enjoyable experience. The soundtrack's great, Rhonda Fleming is gorgeous, there are no plot holes, he regularly gets the movie out of town into some nice landscapes, he casts a great henchman in John Ireland, there's plenty of humorous interplay between Doc and Earp, there's an very well staged shootout at the end.
I've read some criticisms of this movie. I can understand most of them, but don't think any are that big a deal:
- Probably the best criticism is that the wardrobes and sets are antiseptic. Everything looks beautiful...and that's the problem. There's not a dirt smudge, sweat stain or wrinkled shirt in the whole movie. But if you're going to dismiss a Western on this issue, you might as well throw out the whole pre-Leone lot. You just have to accept the fact the people in these primitive, ramshackle towns had access to excellent dry cleaning and hair dressing facilities.
- It could have been shorter. They probably spend too much time developing the characters pre-Tombstone. Rhonda Fleming may have the archetypal Western gratuitous female role, but that never seems to bother me when the female looks as good as Fleming.
- Some people seem to get wound up about historical accuracy. We see this a lot with Billy the Kid and Jesse James movies as well. Please. Get a life. Go make a documentary. Just stop whining.
- I would like to have seen a stronger Ike Clanton. Sturges ceded the heavy role to Ireland as Johnny Ringo. Although Ireland is solid, there was room for another villain.
It's always fun to compare the three major O.K. Corrall movies, "My Darling Clementine", "Gunfight at the O.K. Corrall" and "Tombstone" (I'll leave out Costner's "Earp", which I haven't seen in a while).
My favorite argument is about which movie has the best Doc Holiday, since he's by far the most interesting character. I think Victor Mature, Kirk Douglas and Val Kilmer are all excellent. As they should, all three actors steal their respective movies. Douglas and Kilmer bring more wit and humor to the role. Sturges doesn't do as good a job developing Holiday's background as a Southern aristocrat.
Overall, though, my favorite performance is by Victor Mature. I thought it worked better that he was more of a menace than a wit. He communicated more pathos to me. The scene where he finishes Hamlet's soliloquy for the drunken thespian is one of the most moving I've seen in a Western.
Also, Mature is the the only Holiday who doesn't survive the climactic gunfight. Didn't they all three participate because they didn't want to die in bed coughing their lungs up? What's the point of Douglas and Kilmer surviving? The Holiday attempt to commit suicide by gunfight is fully credible, unlike some other characters I can think of, like "The Wild Bunch" foursome, or Richard Boone and Claude Akins in "The Tall T" and "Comanche Station".
Finally, although none of these three dentists ever pulls a tooth, Mature does perform surgery. He's the only one that earns the title of "Doctor".
*** This review may contain spoilers ***
Forty Guns 1957 Directed by Sam Fuller
"Forty Guns" is "Johnny Guitar" for heterosexuals. The warning "For French Film Critics Only" should flash on and off over the opening credits. There is practically no character development, mostly because the plot jumps around so fast you can hardly keep track of it. The only thing you're sure of is you don't give a damn about anybody or care how it ends. It must have done great business in France. Oh I forgot, the French public has enough sense not to watch art movies, which only play to audiences at NYU's film school.
Barry Sullivan currently has my vote for least charismatic gunfighter to ever appear in a Western (he unseated Yul Brenner). Boy were the sparks flying between him and 50 year old Barbara Stanwyk! Was that whiskey they were drinking, or geritol? Fuller claims Marilyn Monroe wanted to play Stanwyk's part. He should have taken her up on it and gone for pure camp. "Forty Guns" would probably still be selling out midnight shows in the West Village.
When Sulllivan goes into his supposedly intimidating "long walk" (a pale ripoff of Robert Mitchum's fantastic scene in 1948's "Blood on the Moon") he looks like Fred MacMurray in "My Three Sons" coming after Chip for the car keys, not a gunfighter playing "chicken" with a henchman.
"Forty Guns" did have one positive: it was short. A good thing, since you don't have Joan Crawford's bright red lipstick around to keep you awake.
Yeah, yeah, it's one of Martin Scorsese's favorite movies. When are people going to wake up and realize that Scorsese likes a lot of bad movies? "Duel in the Sun" is on his must watch list too, remember? I actually like most of the movies Scorsese makes himself, but even his most ardent fans have to admit that he's a sadistic pervert. Do I have to rattle off the sick, violent scenes he's put in just about every movie he's made?
I'm guessing that Marty found a kindred soul in Fuller when he saw the conclusion to "Forty Guns".
*** This review may contain spoilers ***
I honestly never thought I would see a Western as bad as "Duel in the
Sun", but "Johnny Guitar" delivered the goods. Watching this "Twin
Peaks With Spurs" is like having a root canal done with no Novocaine. I
know it's very presumptuous and bourgeois of me to disagree with Martin
Scorsese and Francois Truffaut, but I gave this movie zeroes all the
Top Ten Laughable Things About "Johnny Guitar".
Number 10 - Comcast's online guide rated it four stars out of a possible four.
Number 9 - The Dancin' Kid.
Number 8 - Sterling Hayden proving his acting range is limited to Brigadier General Jack Ripper in "Dr. Strangelove".
Number 7 - Royal Dano's character reading a book while he's guarding the waterfall leading to his hideout.
Number 6 - The Dancin' Kid revealing that he's originally from New York.
Number 5 - Working title during production was "Plan Nine From Lordsburg". This is what Ed Wood's movies would have looked like if he had money.
Number 4 - The Dancin' Kid winning the William Shatner Career Achievement Razzie for bad acting.
Number 3 - The meticulously neat cabin where the Dancin' Kid's gang lives.
Number 2 - The Dancin's Kid's gang taking artillery fire from Nazi gunners as they attempt to cross the pass out of town.
Number 1 - Joan Crawford's bugged out eyes and fire engine red lips.
This is an excellent film noir Western. "Range war" Westerns aren't my
favorite sub-genre, but this is the best one I've seen. I gave it an
eight out of ten IMDb ranking. It scored 18 points in my ranking
system, which is very high. I'll use this review to compare it
favorably to "Shane", a film it shares a number of plot elements with.
- Like Shane, Jim Geary is a drifter/gunfighter who winds up in the middle of a range war. However, Geary's role is a little like Jack Wilson's, the character Jack Palance played in "Shane" i.e. Geary's the hired heat brought in to drive off the homesteaders (in this case, the "good" rancher). While Shane's conflicts are mostly internal, Geary's are both internal and external i.e. he defects from the "bad" side to the "good" side. One of my main criticisms of "Shane" is that it is too boring. The difference in Geary's role is one of the reasons that "Blood on the Moon" is more interesting, well paced and exciting.
- Robert Mitchum is just fantastic in this. Unlike Alan Ladd, he looks the part of a charismatic tough guy. More importantly, though, the script acknowledges that his character has a legitimately bad past. Do we ever for a minute think that Shane was a bad guy once upon a time? This is the implausible myth of the "poor gunfighter", which as far as I know, was first presented as Jimmy Ringo in "The Gunfighter". Jim Geary is more Will Munny than Jimmy Ringo.
- Robert Preston's devilish charisma is on full display in his characterization of the heavy, Tate Riling. Emile Meyer was good as the heavy in "Shane", but his character can't compare to the color and complexity of Riling. In fact, Riling's not even the evil rancher, but a third party adventurer who is playing the ranchers and homesteaders off against each other. Again, this leads to more complicated and clever plot developments than in "Shane".
- There are two romantic subplots in "Blood on the Moon", both of which take place with well developed (in terms of plot) female characters who are not gratuitous sex objects. Compare to "Shane", where there is no romance outside of the Starret's ten year wedding anniversary.
- Range war Westerns often get stuck out on the prairie and don't take enough advantage of Western landscapes. George Stevens solved this brilliantly by setting his movie at the base of the Grand Tetons. Still, the movie gets stuck going back and forth from the Starret ranch to the town. "Blood on the Moon" matches "Shane" by setting the story in the foothills of the Sedona mountains in Arizona, but avoids "Shane's" problems by moving the story around aggressively. There several cattle drives, two different towns and most importantly, a thrilling chase into the snow covered Sedona mountains. This is the only black and white movie I've awarded the maximum points in my landscape category.
- Wise weaved important historical texture into his film by setting it next to an Indian reservation. The government Indian agent is a key player in the plot and they even work an Indian character in, something difficult to do in a "Range War" Western. I've criticized "Shane" for the lack of Indian themes, not because every Western should have Indian themes, but because a movie that was intended to be the "archetypal" Western and is reputed by many to be the best Western of all time, should have at least made an effort. "Blood on the Moon" demonstrates that it can be done in a range war context.
That's it for the "Shane" comparisons. Some other things I liked:
- Walter Brennan is excellent in this. It's kind of funny, people of my generation only knew him as a comedic buffoon. From my point of view, he's always very effective in these early movies, when he mostly played against that type. It's one of the reasons John Wayne is so good in "The Searchers" and "Red River". Those are the only Westerns where he didn't play "John Wayne".
- There's a fabulous scene where Mitchum faces down two of Riling's henchman. It's great because there's no gunfire involved. He marches across the street, calls them out and they chicken out. These are the kind of scenes that can make a movie (And not to rag on "Shane" too much, the same can be said for the Elijah Cook Jr.'s gripping murder scene in that movie).
- I appreciate the fact that there isn't an uncomfortable age gap between Mitchum and Bel Geddes. It doesn't sound like a big deal, but it is a rarity.
- Not my cup of tea exactly, but I should point out there is an excellent fist fight between Mitchum and Preston.
- There are several of great lines. Again these are the types of things that can make movies.
"I've seen dogs that wouldn't claim you for a son, Tate." "No law says a man has to go by the wagon road" "I always wanted to shoot one of you. He was the handiest." "We could've licked them you and me, but you always had a conscience breathing down your neck."
I don't have much to say on the negative side.
- Riling's henchman were poorly drawn, especially in comparison to "Shane's" Jack Wilson.
- It could have used some relief from the tension, maybe some music or comedy, but I guess that was the whole point of the film noir genre - to wind you up as much as possible.
- It's a bit dated, but far less stiff and corny than most movies from that era (including "Shane"). In that sense, it was way ahead of its time.
*** This review may contain spoilers ***
I don't recommend this movie to anyone who isn't a rabid Errol Flynn
fan. From my point of view, he's too suave and urbane to qualify as a
Western hero. I understand he ended up making eight Westerns. I can't
say I'm looking forward to watching them, although I'm holding out a
little hope for "They Died With Their Boots On". The movie has a good
rep and George Custer sounds like a more suitable role for Flynn. We'll
It's hard to come up with a list of likes and dislikes for this film. It was so bland and cookie cutter, it didn't elicit much reaction either way. I gave it a three out of 10 in my IMDb and it only scored seven points in my ranking system, a bad score.
Here's what I liked:
- There was a very large and well filmed barroom brawl. This is a stock Western cliché that doesn't really interest me much, but this was one of the better ones I can remember. I especially liked it because it took place between Union and Confederate Civil War veterans.
- I don't know much about the history of color movies, but this must have been an early one. Not very impressive 70 years later , but it must have been a big deal back in its own day.
- I'm at a loss really to say anything more positive about this film
On the negative side:
- Like I mentioned above, I just didn't buy Flynn as a gunfighter hero.
- I'm not sure why his character wasn't Wyatt Earp. I'm not an Earp historical expert, but it seemed to me this was the stock "Wyatt Earp cleans up Dodge" narrative, just with a different guy. Don't know why they did that.
- The written preludes to these 1930's movies crack me up. Was it that audiences were so accustomed to the silent era that they were afraid not to let them read a little bit?
- As is typical in movies from this time period, the romantic subplot is stiff and corny, the soundtrack is syrupy, the villains are purely melodramatic, there is a general lack of realism.
*** This review may contain spoilers ***
Rio Bravo is a movie that has been gushed over by numerous critics
(Roger Ebert's review is particularly unctuous). Frankly, I don't
really get it. I thought it was a really good movie and gave it 6 out
of 10 in IMDb, which is a good score for me. It also scored well in my
ranking system with 14 points, but for my money it doesn't belong in
the conversation of "best Western of all time".
Here's what I liked:
- Obviously, Hawks is a great director. He's at his best here at the interplay between the characters, especially Chance and Dude. Stumpy and his relationship to everyone is well drawn also, as are Feathers and Colorado. You've got to like the names of all the characters too, right? Chance, Dude, Stumpy, Feathers, Colorado. Great stuff.
- Really cool use of the haunting trumpet in the Mexican "Cutthroat Song", which Burdette orders the band to play in order to harass Chance.
- One of Wayne's better roles, which is saying a lot.
- Dean Martin is fantastic in this. There's an interesting story about how Hawks cast Martin, if you can dig it up.
- Scored well in my Mexico/Indian/Civil War category with the well characterized Mexican hotel owners who come to Chance's aid. Also, town was well populated with Mexican characters, which was historically accurate.
- Good use of comic relief.
- Claude Akins was an effective heavy, although his brother, played by John Russell, could have been characterized a little better. Look for Russell as the henchman Stockburn in "Pale Rider" 25 years later.
Nothing about his movie was really bad, I just have some minor complaints:
- I found Ricky Nelson very awkward in this. Too bad they couldn't get Elvis. That would have been really interesting.
- Once again the stunning age difference between Wayne and Dickinson undermined the romantic subplot. Nice effort by Dickinson, though.
- Could they have left that town set for just one minute? I guess claustrophobia was part of the theme. I hate claustrophobia
- Songs by Dean Martin and Ricky Nelson were horrible
- Does a stick of dynamite automatically explode when hit with a bullet? Not the best shootout at the end and the body count seemed a little on the high side.
*** This review may contain spoilers ***
This disappointing movie is a film noir version of "Duel in the Sun".
It's much more intelligent and better acted than "Duel", but just like
"Duel", it stretches the limits of the Western genre by introducing too
much romance and soap opera.
I only gave this 4 out of 10 stars in IMDb. It only accumulated 8 points in my ranking system, well below average score of 12.
Despite its poor overall ranking, there were quite a few things to like about the movie:
- Barbara Stanwyck may have played a lot of strong women in her career, but her character is quite unusual for a Western. She does a great job, but unfortunately her role is too hammy.
- There's a very unusual plot element revolving around the issuance of a private currency and bank loans. The economics in the movie are sophisticated and realistic. Reminded me a lot of the accuracy of 1980's "Trading Places".
- Barbara Stanwyck has a great line late in the movie, when a town dance hall girl introduces herself, saying, "Hi, My name's Dallas Hart, I'm new here". Stanwyck looks her up and down and says, "Honey, you wouldn't be new anywhere." Wouldn't be surprised if that wasn't an old Mae West line.
- Nice authentic Arizona locations.
- Pretty realistic interiors. i.e. when the scene shifts to a soundstage, the rooms feel small and have low ceilings. Ford was good at this also.
On the negative side:
- As I mentioned, it's a pot boiling "Peyton Place with spurs" more than a real Western. This is a common problem in "Land Baron" dramas like "The Big Country".
- Wendell Corey is very poorly cast as the central romantic lead. This movie desperately needed some charisma in this role.
- It was obvious they were trying to fit a 1,000 page novel into a two hour movie, which is very hard to do. In this way, it resembles Mann's "Cimarron", which he made a complete mess of ten years later. This movie is much better crafted than "Cimarron", but the extensive summarizing of characters and time passage is obvious. They handle it pretty well overall, but can't keep up. For example, Stanwyck's brother simply disappears from the movie half way through with no explanation.
- I won't give it away, but expect more of Anthony Mann's obligatory gore and sadism. I could do without all the shootings through the hand, draggings through the fire, spurs in the neck etc.
This is a very entertaining Burt Kennedy Western, very much in the mold
of "The War Wagon", although it more often crosses the line into
straight comedy. I gave it five stars in my IMDb ranking. I ended up
classifying it as a comedy, which I don't rank in my all time great
Westerns system (I haven't figured out yet why I don't, it just feels
like comedies should be ranked against each other in their own
Here's what I liked:
- Robert Mitchum and George Kennedy are very good in this as an aging lawman and outlaw who become "frenemies". Both of these guys are very underrated actors. I can't think of a movie Kennedy was in that I didn't enjoy.
- Martin Balsam practically steals the movie as the corrupt mayor. A really great comedic performance that was clearly the inspiration for Harvey Corman's governor character in "Blazing Saddles" a couple of years later. This movie really got me interested in Balsam. Looks like he was one of the early Actor's Studio guys like Eli Wallach. I only remember him from "Psycho" and "Hombre". Dude had some range. I'm going to make a point of watching some more of his work.
- Nice location filming in New Mexico.
- Some pretty good action set pieces with a locomotive.
- Story moves along nicely, it's easy to get involved in the characters, there are no gaping plot holes.
- Kennedy plays a notorious bank robber who everyone thinks was killed 10 or 15 earlier. In reality, he got married to a Quaker woman, went straight and was living in Canada. After she dies from fever, he leaves an 11 year old son behind to return to the U.S. and resume his career as a bank robber. Sound like someone we know? Hint: Clint Eastwood played the part.
Here's what wasn't so great:
- Ridiculous title
- David Carridine has a part.
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