A police detective investigating a jewel robbery discovers evidence that points to his girlfriend as the culprit, although she claims she was framed. He arrests her anyway, and she is ... See full summary »
Wrangler Clay Phillips and his younger brother Steve are taking horses to their ranch near Sonora when they come across four dance hall girls heading the same way with a wrecked buggy. One ... See full summary »
Claude Jarman Jr.
While searching for a small fortune of embezzled money, an ex-con, a small-time bandleader, his doting wife, and a kooky drifter find themselves being followed. Their chase takes them to ... See full summary »
In Buenos Aires, a man who has decreed that his daughters must marry in order of age allows an American dancer to perform at his club under the condition that he play suitor to his second-oldest daughter.
William A. Seiter
Irish adventurer Emmett Keogh finds himself partnered with a hard-drinking priest named Van Horne in revolutionary Central America. Tricked into delivering guns by smuggler/con man Jennings, the three end up joining forces against despot Tomas de la Plata, who treats his subjects ruthlessly and who has a special hatred for priests. Van Horne, who seems to be a priest in costume only, decides to stand up to de la Plata and lead a revolt against him.Written by
Jim Beaver <firstname.lastname@example.org>
One night during production when the film company was based in Mexico City, publicist Tom Miller dined out with Rita Hayworth. When they got back to her hotel, there was much excitement. The Mexican equivalent of the Academy Awards were being presented in the large convention hall in the hotel. Rita was tuned on. "Let's go!" Rita said. Miller replied, "But Rita, we don't have an invitation!" She looked back at him and said, "But I am Rita Hayworth!" And Miller said, "So you are." He spoke to someone at the door, who excitedly ran up to the front of the room and whispered to the MC, who announced to the crowd the presence of a surprise guest. And she went up on the stage to a standing ovation. See more »
When Keogh is knocked backwards on a balcony, the stuntman intends to fall back out of sight before a second double for Keogh comes into sight and rolls down the adjacent stairs. But for a moment, both "Keoghs" are visible at the same time. See more »
To some extent Ralph Nelson's "The Wrath of God" spoofs westerns, but like Nelson's "Lilies of the Field," under the comedy is, I think, a deeply felt belief in divine grace. Both movies focus on unlikely human materials having a vocation they fail to recognize and consciously resist. Herein, Robert Mitchum plays a con man masquerading as a priest and a Catholic martyr in the tradition of Thomas à Becket or Thomas More mistaken by many as a hedonist.
In her last screen performance Rita Hayworth has preternaturally red hair (fire-engine red, not a color of any natural human hair), few lines, and is required to look devout (which she manages to do). As her flamboyantly traumatized and traumatizing son, Frank Langella gets to chew up the scenery, which he does with great relish (before "Dracula," after his memorable film debut in "Diary of a Mad Housewife" and Mel Brooks's adaptation of "The Twelve Chairs"). Ken Hutchinson does fine as the token normal guy who is embroiled in others' plots, including the romantic subplot that involves him with a mute Indian maiden (Paula Pritchett). In a Sidney Greenstreet-kind of role as a corpulent and corrupt gun-runner Victor Buono is suitably droll. Still, it is Mitchum's movie, and he is as compelling when he takes his priestly role seriously as when he plays the usual disengaged but competent existentialist who expects nothin' from nobody. <bt><br> A motley gang of foreign mercenaries getting involved in the confusions of the long-running Mexican revolution and taking a side against their financial interest recurred in a number of late-1960s and early-70s movies, including "The Wild Bunch", "The Professionals", and "A Fistful of Dynamite." The latter two use considerable humor within the genre of expatriates taking sides (which in Mexican settings of different eras includes "Vera Cruz", "Old Gringo", and "Bring Me the Head, of Alfredo García").
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