Tag: western

Hard Bounty

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★★★
“Nobody dressed like that in those days.”

hardbountyI can’t believe an IMDb reviewer wrote the above, with an apparently straight face, because it’s severely missing the point of this nudie-cutie Western. The women are certainly packing, but the large-caliber weapons on display are not restricted to six-shooters, if you know what I mean, and I think you do…  That said, I reviewed this as a girls with guns flick a long time ago, back when this site was not even a gleam in my eye. But watching it again, I was beginning to wonder if I’d seen a different movie, as the first half is entirely action-heroine free.

It focuses more on bounty hunter Kanning (McCoy), whose life is disturbed when his former partner shows up, the murderous Carver (Terlesky, whom we’ll always remember fondly for his role in another Wynorski film, the brilliantly tongue-in-cheek Deathstalker II). The tension of unresolved issues runs high between them, in and out of the saloon/brother where Kanning’s girlfriend, Donna (LeBrock sporting a British accent for some ill-explained reason) is the head girl. There’s no shortage of nudity, certainly, but that’s the only action in which the ladies take part. Then, Carver – again, for ill-explained reasons – strangles one of the saloon ladies, and high-tails it off back to the land baron who employs him. Donna and her colleagues decide to head after him and take revenge for their fallen comrade, and Kanning, fearing the worst, tails along to help them out as they go in with guns a-blazing. Ah, so that’s why I reviewed this.

It certainly isn’t saying much, but this is far better than Gang of Roses II, and arguably more entertaining than the similarly-themed Bad Girls [which I probably should review here at some point, though that would mean having to watch it again]. The players are easy on the eye, though who knew breast implants were so prevalent in the Old West, and the dialogue could certainly have used an additional polish. For example, just before heading off on her mission, Donna is told by Kanning, “You can’t do this!”, to which she replies with the immortal (for all the wrong reasons) line: “There’s only two things I can’t do. One is make love to a woman, the other one is piss up a wall. And right now, there’s only one of those I regret not being able to do.” Er… what?

The action is about what you’d expect from a modest genre entry, with a moderate amount of blood-free gun-fighting. The ease with which the whores become stone-cold killers is quite surprising, given the complete lack of any fondness for guns shown previously. However, I was just happy to see it at all, having started to question my memories from two decades previously. You need to be able to handle that this almost feels like two different films joined in the middle, with the first being a lightly-amusing excuse for lingerie and less, and the second a revenge-driven thriller. Still, I can’t say I minded either too much, and as long as you manage your expectations, you probably won’t either.

Dir: Jim Wynorski
Star: Matt McCoy, Kelly LeBrock, John Terlesky, Rochelle Swanson

The Keeping Room

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★★★
“Clearly nothing civil about this war.”

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The second half of 2015 seems to have seen a flood of “revisionist” – whatever that term means – Westerns. We’ve already had the likes of Bone Tomahawk and The Revenant, with The Hateful 8 due out imminently. This is another along similar lines, though also has a debt to Cold Mountain, sharing a theme of Civil War women forced into surviving on their own, with the menfolk off fighting each other. In this case, it’s two siblings, Augusta (Marling) and Louise (Steinfeld), along with their black maid (Otaru), who are barely scraping a living out of the land. When Louise is bitten by a racoon, her sister rides into town to seek medicine, but encounters Moses (Worthington) and his colleagues, the advance guard of the approaching Union army. He takes a shine to her, but she rebuffs his advances at the point of her rifle; that only spurs the men on, so they follow her back to the house and lay siege to the three inhabitants, driven by an apparent combination of lust, and a desire to take revenge for their humiliation.

This opens with a quote from Civil War General, William Sherman: “War is cruelty. There is no use trying to reform it. The crueler it is, the sooner it will be over,” and that’s an appropriate quote, since the moral here appears to be that there are times when barbarism needs to be met with equal or greater force. Augusta, in particular, is a great exponent of this, pragmatic and down to earth. When Louise tries to deflect a chore by whining, “She’s the nigger, she should do it,” her sister chides her in response, “Like I told you, Louise: We all niggers now.” However, even Augusta falls prey to the convenient flaw most commonly seen in the “final girl” of slasher films: failing to finish off your opponent when you have them at your mercy, in this case wandering off and leaving Otis after knocking him out. It has to be said, I was close to yelling “Shoot him in the head! IN THE HEAD!” at the screen there.

Barber also has a flawed concept of pace, the film grinding to a halt just when it should be escalating relentlessly, in order for the maid to deliver a lengthy monologue about an incident that happened when she was 10. While not irrelevant, it really needed to be somewhere else in the film, as it derails all the tension built up to that point. It’s a shame, as there has been a strong sense of looming and ever-encroaching violence, right from the opening scene, depicting an encounter between a slave and a stagecoach. While infuriatingly flawed in a number of ways, not least Barber’s over-obvious direction, Marling’s performance in particular does make it worth watching, and the story reveals a side of the war not previously brought to the screen, to my knowledge.

Dir: Daniel Barber
Star: Brit Marling, Hailee Steinfeld, Muna Otaru, Sam Worthington

The Bandit of Hell’s Bend, by Edgar Rice Burroughs

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Literary rating: ★★★★
Kick-butt quotient: ☆☆

banditBorn in 1875, as a youth Burroughs actually spent time working as a cowboy on a 19th-century Western ranch owned by his brother. Though that was in Idaho, while this novel is set in Arizona, his knowledge of basic ranch life and Western conditions in the frontier era was firsthand; and the descriptions here suggest that he had some personal familiarity with the landscape of the Southwest as well. So in this novel, he was following the axiomatic advice for authors, “Write about what you know.” His main weakness in much of his work, his disdain for research, is therefore largely moot here, while his main strengths –an ability to deliver adventurous plots and stirring depictions of action, creation of strong heroes who embody what are traditionally thought of as “masculine” virtues, moral clarity, and a masterful evocation of the theme of “primitivism” that can appeal to repressed and regimented readers– are undiminished. I’m not typically a Western fan, because I think modern examples of the genre too often degenerate into cliché.’ But the early Westerns produced by the writers of Burrough’s generation (which also included Zane Grey, whose influence I recognize here) preceded the modern cliches,’ and possess a more original quality –even if some of the tropes were beaten to death by later writers.

In 1880s Arizona, the inhabitants of the Bar-Y Ranch and neighboring Hendersville have to contend with occasional lethal Apache attacks, and the stage carrying bullion from Elias Henders’ mine is being held up with disconcerting regularity. Local suspicion pegs the principal masked culprit as Bar-Y cowboy Bull –but is local suspicion correct? And the plot will soon thicken, because both ranch and mine will face a suave menace that fights with the machinery of the law rather than with guns and tomahawks. The storyline is genuinely exciting, with a strong narrative drive that kept me eagerly turning pages to see what would happen next, with an element of mystery. (I guessed the culprit’s identity before the denouement, but I didn’t foresee everything that would happen.) Burroughs also understood that romance doesn’t need to be sappy to be romantic. There’s a well-drawn theme of conflict here between the effete, over-civilized, arrogant East that fights through dishonesty and wants to take from others (and the West that Burroughs saw was in many ways an oppressed colony of the U.S.-European industrialized world, as much as the hapless peoples of Asia and Africa were) vs. the primal, strong, down-to-earth West whose people look you in the eye and fight for what’s theirs

Burroughs has created a hero and heroine that you strongly care about, and want to see come through their jeopardy. Bull is more flawed than some Burrough’s heroes, because he has to struggle with a bit of an alcohol addiction; but that doesn’t diminish him for me –he’s a human being, with some human weakness as well as strength. Diana Henders is not a weak hot-house flower who functions solely as a damsel in distress –like any of us, she may find herself in need of a rescue sometime, but not through any weakness or incompetence on her part; and she’s also ready to do some rescuing herself when it’s needed. Of any of the Burroughs heroines I’ve encountered –and that’s been several– she’s the one I like the best, and that I find to be the most sharply-drawn, and most possessed of leadership and heroic qualities. (She’s an intelligent, likeable girl who enjoys reading and playing her piano. If you’re attacked by an Apache war party bent on ending your life, you’d also find her a very capable and cool-headed ally to have at your side with her Colt.) Some of the secondary characters here also come across as more vivid and lifelike than is usual for this writer, IMO.

Like other regional writers of his day, Burroughs was careful to reproduce authentic dialect in the character’s speech, indicated by unconventional spellings that reflect the pronunciations, not only of Western cowboy patois, but of a thick Irish brogue and a Chinese accent as well. This isn’t done to ridicule anyone; indeed, some characters who exhibit each of these speech patterns prove to be very sympathetic.

There’s a bit of ethnic stereotyping, in that Wong the cook is knowledgeable about poisons, and an opium user (of course, a fair number of 19th-century Chinese were opium users –not very surprisingly, since the British promoted the opium trade, and forced it on China in two wars!) and there’s no real attempt to understand or present the Apache viewpoint. (Though even if their basic grievances are just and legitimate, when they’re attacking with the intention of killing you, fighting back IS your only short-range option.) But the only real villains here are white. And while Bull’s comment, “Thet greaser’s whiter’n some white men,” is phrased in racist terms, the insight he’s experiencing is subversive of racism. (“Greaser” is an ethnic slur some characters use for the Hispanic character, but he thinks of Anglos as “gringos” with just as little authorial censure; I think Burroughs here is only reflecting the common parlance of the day, as with his dialect speech. When Wong is referred to as an “insolent Chink,” it’s by a creep whom the reader readily recognizes as Wong’s inferior.)

My rating of four stars rather than five was for a very few logical slips in details, and for a few glossed-over points where plot developments were a tad dubious, IMO. But those are quibbles; this was a really good read, for any Western and/or action adventure fan!

Author: Edgar Rice Burroughs
Publisher: Both Ace Books and CreateSpace, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

Lady Deception, by Bobbi Smith

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Literary rating: ★★★
Kick-butt quotient: ☆☆

LADY DECEPTIONThis is another book I got for my wife, because I felt the pistol-packing cowgirl on the cover would appeal to her, and then read on her recommendation. It’s even more of a departure from my usual reading fare, since it isn’t only a Western, but a paperback romance as well. Set mainly in Texas in 1877, the title refers to the heroine’s penchant for using disguise and deception in her work; she’s a bounty hunter with a reputation for bringing in her quarry alive. The leading male character is an ex-gunfighter recently turned rancher, who’s mistakenly accused of complicity in a bank robbery; she’s hired to bring him in alive.

Smith’s prose style could use polishing, and often lacks artistry; scenes often aren’t sketched with much sensory detail, and many of the characters are not sharply drawn. However, the plot moves with several inventive twists and turns that enhance reader interest, and Smith even incorporates a bit of mystery, in the hidden identity of the shadowy outlaw chieftain El Diabloto. (Astute readers will guess this early on –but trying to guess the solution to a mystery is part of its fun.) Cody and Luke are both appealing characters whom the reader can readily like and respect. Despite their human foibles (see the note below), to the extent that the book presents any moral messages, they’re generally wholesome ones, and even religious ones in places. One of our heroine’s guises is as a lady preacher; her preaching definitely presents a theistic and moral world-view, with a call to repentance and a recognition of the possibility of forgiveness and grace, and she has a positive effect on some characters’ lives. (Granted, to some degree she’s playing a role here –but it’s not a role that’s wholly foreign to her.) Western-style gun-fighting action isn’t pervasive in the book, but there’s some of it; and Cody will earn Luke’s recognition that she’s “good with a gun.”

Note: There are a couple of explicit unmarried sex scenes here, and a certain amount of bad language, of the h- and d-word type.

Author: Bobbi Smith
Publisher: Montlake Romance, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

The Vengeance of Fortuna West, by Ray Hogan

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vengeanceLiterary rating: ★★★
Kick-butt quotient: ☆☆½

While I haven’t read many Westerns, my wife is an avid fan of the genre, and I know she also admires the strong, brave heroine type of character (so do I –I married one!), so I got her this book for Christmas, and then read it on her recommendation. Fortuna, the protagonist here, is the recent widow of a New Mexico marshal, who gets herself made a deputy in order to go after the outlaws who killed him –not as improbable a quest in her case as it would have been for most women of that era, since he taught her to handle a Colt more proficiently than most males, and she’s a skilled rider, huntress and tracker who once brought down a bear. (Of course, the terrain she has to search is rough, and the killer outlaws aren’t her only jeopardy.)

Hogan has been a prolific Western author, with well over 100 novels and a large body of short fiction to his credit; the sheer volume of his output probably militated against very careful craftsmanship, and his diction here is mediocre. He also gets his details tangled in a few places, and a few notes don’t ring quite psychologically true. But the novel succeeds as well as it does because of the appeal of Fortuna’s character; the plot is straightforward and Hogan’s writing style simple, making for a quick read (it could be read in a single long sitting, and he provides enough action and suspense that a reader might want to) and Fortuna’s need to choose whether she intends to bring her quarry in alive or execute them on the spot gives the story some moral depth. (There is some bad language here –which Hogan explains, through Fortuna’s musings, as a response to stress-and, obviously, some violence, but no sex.)

Author: Ray Hogan
Publisher: Doubleday, available through Amazon, currently only as a printed book.

A version of this review previously appeared on Goodreads.

Deliverance Creek

  By

★★★½
“Once in a Lifetime.”

deliveranceThere’s one thing it’s vitally important to understand before watching this. It’s not a stand-alone Western movie. This is what’s called a “backdoor pilot”: something aired as if it were a discrete entity, with the aim of gauging audience reaction to see if it gets picked up. This matters, because it explains the film’s otherwise inexplicable failure to resolve… Well, just about any of the plot threads it constructs during its 90 minutes. If you expect closure, you’re going to be massively disappointed, and there are other aspects which are similarly out of place, such as Skeet Ultich as a local saloon pimp, who serves absolutely no purpose. However, if you take this for what it is – an introduction to the setting, characters and situations – it’s actually more than serviceable, especially since it’s a product of Lifetime, whose output tends to the bland in the same way as vanilla pudding. Thanks largely to Ambrose, this rises above that, and leaves me definitely interested in seeing more.

She plays Belle Barlow, struggling to keep things going on her farm as the Civil War grinds on; her husband was fighting for the Confederates, but has not been heard from in forever. Things aren’t made easier by the neighbours, the Crawfords, who own the local bank and the loan on which Belle is falling behind. Her sister, Hattie, is also involved in helping the underground railroad, the network which smuggled escaped slaves to freedom: Belle has mixed feelings about this, but finds herself hosting one such refugee as her “slave”, Kessie. Meanwhile, a bunch of renegade soldiers, led by Belle’s brother Jasper (Backus), arrive on the farm, intending to knock off a delivery of army gold that will be held temporarily in the bank. Initially opposed to this, Belle’s opinion is changed after a tragic accident, for which she blames the Crawfords, and it turns out Kessie holds the key (literally) to pulling off a successful robbery.

I can’t stress this enough: do not go in, expecting any one of these threads to reach a satisfactory conclusion. It’s the journey which you need to enjoy instead, because the destination is never reached. Fortunately, I was forewarned, and so didn’t suffer the same sense of “Is that it?” as some reviewers. Instead, I was able to appreciate a heroine that’s a good deal more complex than many, and the film also does a good job in portraying the murky nature of the Civil War, where people from the same town (or even family) would sometimes be on different sides. I particularly liked Belle’s little rant in regard to the Crawfords:

I want revenge too. But a bullet for each of them while they sleep is little comfort. I want them to suffer, as I have suffered. I want them to feel what it’s like to have everything they love stripped away from them, piece by piece.

That speech does a really good job of setting up her character’s direction for the rest of the movie, and providing credible motivation. As yet, I haven’t heard of any series following and that’s a pity, because this has potential and I’d like to know where it might have gone. While it’s obviously much easier to write a film where you don’t have to worry about the ending, don’t let the attached name of Nicholas Sparks (The Notebook, and other sappy romances) put you off, for this is better than many TV movies, and definitely better than almost all Lifetime ones.

Dir: Jon Amiel
Star: Lauren Ambrose, Wes Ramsey, Christopher Backus, Riley Smith

Sweetwater

  By

★★½
“Sweet but mostly sour.”

sweetwaterLife in the old West was tough. It was particularly tough if you were a woman, such as Sarah Ramírez (Jones), struggling to make an honest living with her farmer husband Miguel (Noriega), having escaped life as a prostitute. This movie shows it to be especially tough, after Miguel has had his throat slit by batty preacher Prophet Josiah (Isaacs) – it doesn’t help he has the hots for Sarah, apparently taking the “love thy neighbour” line very literally, and runs the local area as if it were his own personal fiefdom. Fortunately, she has an unusual ally in Sheriff Jackson (Harris). The lawman shows up, looking for two people who disappeared on a journey which took them right across Josiah’s territory, and is about the only other person willing to stand up to the lunatic religious fringe. Finally, Sarah has had enough, and embarks on her vengeance against, not only Josiah, but anyone else who has wronged her, such as the shopkeeper who spied on her in his changing-room.

That final clause kinda illustrates the main problem here: an unevenness of tone which veers between the deadly serious and the ludicrously comic. That’s even the case for some individual characters, particularly Jackson; one minute, he’s waltzing by himself in the town’s main street, the next he’s carrying out forensic analysis, decades ahead of its time. While an intriguing character, the movie might have been better off concentrating on him or Sarah: they may share a common enemy, yet they hardly share a scene until the end, where Jackson’s sole purpose appears to be to provide a second firearm for our heroine. As for the ending, “Is that it?” will likely be your reaction, though in the film’s defense, I sense the emptiness of revenge is part of the point: once you’ve taken it, bringing to an end something which has consumed your life, what then?

I enjoyed the performances here, however: Jones’s understated style works towards her, while Isaacs and Harris both put over an unhinged air of barely-repressed violence. There are some fine moments, depicting Sarah’s willingness to use any means necessary, luring two of Josiah’s men to their doom by bathing in a river [pics from the scene “leaked” out: in no way was this a shallow publicity grab, I’m sure…]. The look of the film is also well done, with good use made of the New Mexico landscapes, and as the picture above shows, the heroine’s colourful garb is an interesting contrast – must have been hot and uncomfortable as hell to film in that. But the good intentions aren’t enough to overcome the lurches in tone and content, and the result is, frankly, a bit of a mess.

Dir: Logan Miller
Star: January Jones, Jason Isaacs, Ed Harris, Eduardo Noriega
a.k.a. Sweet Vengeance or Sherif Jackson

 

"There are some fine moments, depicting Sarah's willingness to use any means necessary. The look of the film is also well done, with good use made of the New Mexico landscapes. "
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The Dalton Girls

  By

★★★½
“How the West was wo(ma)n.”

dalton-girls-os1“Oh, you can’t trust a man, ‘cos a man will lie,
But a gun stays beside you till the day you die.
A man is a cheater, with his triflin’ ways,
But a gun’s always faithful, ‘cos a gun never strays.”
   — Holly Dalton (Merry Anders)

The above comes from a rather strange musical number, injected into the middle of this B-Western for no particular purpose. It’s sung by Holly, the leader of the titular gang, consisting of four sisters: the older pair Holly and Columbine (Edwards), are forced on the lam after a sleazy funeral director tries to force himself on Holly, resulting in his encounter with the business end of a spade. Six years later, they have been joined by younger siblings Rose (Davis) and Marigold (Sue George). and are raiding stage coaches around the West.

Things are derailed when one of their targets is carrying W.T. “Illinois” Grey (Russell), a gambler on his way to the Colorado boom town of Dry Creek. Columbine falls for him, and casually suggests Dry Creek as the location for the gang’s next raid. They raid the bank, and get away with $6,000 – which was supposed to go to Grey, and he is shot in the process. He trails them to Tombstone where, rather than tell the sheriff, he blackmails the gang to get the money back, and Holly decides to get revenge by raiding the high-stakes poker game where he is wagering the cash.

It’s a wonderfully grey film, morally speaking: unlike many Westerns of the era (1957), it isn’t black-hatted villains metaphorically twirling their wax moustaches, as they go up against square-jawed good guys in their white hats. Here, there isn’t anyone whom you could truly place at either end of the moral spectrum. The Daltons, Holly in particular, are victims of their family reputation – the film opens with their brothers being hunted by a posse, and gunned down in the desert. [The funeral director who assaults her is displaying the corpses for a 25-cent admission fee, which appears based on the fate of the real Dalton Gang].

On the other hand, Grey is certainly no hero either, a pragmatist whose main focus is looking out for #1. Naturally, crime can’t be allowed to pay, and the ending reflects that. However, the journey is a surprisingly forward-thinking one, with only the doomed Grey-Columbine romance counting as an expected element. There is probably one sister too many, since they do blur together, and absolutely nothing like the tagline on the poster happens [“snared them in their love traps at night”? Really?], though that may not be a bad thing. Apart from the fact that the outlaws are women, the story doesn’t have much new to offer. However, considering the era, that alone is still borderline radical, and plays a good two decades ahead of its time, if not more.

Dir: Reginald Le Borg
Star: Merry Anders, John Russell, Penny Edwards, Lisa Davis

Little Rita of the West

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★★½
“Killing off the Western musical, almost a decade before Paint Your Wagon.”

I came into this almost entirely blind, watching it based on the title and the first three minutes off YouTube. You can understand my surprise, after Rita (Pavone) and her German sidekick (Dalla) take out a gang of stagecoach robbers, finishing off by gunning one down in the back, as he lies dazed on the ground, when they… burst into song? Yep, what I didn’t know was, this is actually a musical, designed around the talents of Ms. Pavone, who was apparently a huge pop-star in Italy in the sixties. Hence the songs. Okay, that makes a bit more sense. But it’s still an extremely odd beast, swinging from obvious spoof to apparent seriousness at the drop of a catchy tune.

The plot has Rita “liberating” gold from various bad guys, in conjunction with her Indian chief partner (Mitchell), with the intention of destroying it, believing it’s the root of all evil. That brings her into conflict with “Ringo” – sharing the same of a popular spaghetti Western character, but really a thinly-disguised Man With No Name – and “Django,” a not-at-all disguised copy of that iconic character, down to him dragging a coffin containing a machine-gun, and possessing broken hands. But she then meets and falls for another outlaw, Black Stan (Hill), who ends up sentenced to death after he tries to run off with Rita’s stash of gold awaiting destruction.

Much of this clearly isn’t intended to be serious, such as Rita’s rocket-propelled grenades which clip on to her gun, the local sheriff (Pavone’s husband and manager Teddy Reno) who’d rather be a lumberjack hairdresser, and the frequent references to “frontier humour,” whenever anyone makes a bad joke. But the confrontations with Ringo and Django are played more or less straight, and Little Rita (who is indeed little, at barely 4’10”) is actually made to look something of a bad-ass, punching above her weight. There are actually some genuinely impressive bits of satire, too, such as one victim asking to die “American style,” which means he gets to tell his life-story before the final breath, unlike “Indians and Japs.” The finale, too, needs to be seen to be believed, and is an absurdist breaking of the fourth wall.

However, for every smart and witty moment, there are probably two really stupid ones, while most of the performances would get their actors fired from Benny Hill for excessive comedic mugging. And the songs don’t help: I’m not averse to the concept (I’m a big My Fair Lady fan, and we’ve also seen enough Bollywood films to be able to cope with sudden jumps into musical numbers), but these are damn near irredeemably-awful. The result often finds its way into lists of the worst spaghetti Westerns ever made: if I can certainly see why, I’ll confess I was generally entertained, if only by the sheer “WTF?”-ness of proceedings. It’s more or less unlike any other GWG film you will ever see, and I’ve not seen any other spaghetti Westerns with a female lead either: for such originality alone, I can’t condemn it entirely.

Dir: Ferdinando Baldi
Star: Rita Pavone, Lucio Dalla, Terence Hill, Gordon Mitchell

Hannie Caulder

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★★★½
“Iconic imagery, but not really too convincing a heroine. “

If genre entries produced in Italy are “spaghetti Westerns”, what does that make those produced in Britain? “Fish and chip Westerns?” “Roast beef Westerns?” Shot in Spain, but made by Tigon Film, and including such quintessential Brits as Christopher Lee and Diana Dors in supporting roles, this is nicely-photographed and hits all the right notes. But as the titular character, who seeks revenge after her husband is gunned down, and she herself raped, by the Clemens brothers, Welch perhaps has too much cinematic baggage. While responsible for one of the all-time absolute classic images of the genre, it’s an association which leaves the viewer struggling to look at the heroine without seeing fur bikinis or even Fathom, rather than a widow, hellbent on and dedicated to vengeance with an almost psychotic obsession and lack of self-concern.

Still, there is plenty to enjoy, not least Culp as the bounty hunter who, reluctantly, agrees to take Caulder under his wing, largely realizing that she’s going to get herself killed otherwise. He delivers exactly the right air of world-weary wisdom, and Hannie’s training is covered in enough depth, and with enough bumps in the road, to be credible. Unfortunately, the same can’t be said of the Clemens (Borgnine, Martin and Jack Elam): for some reason, they are portrayed almost as comedic jesters or harmless buffoons, characters in great contrast to the vicious rapists and killers we first see. It’s an odd combination, that doesn’t work. Much better used is Lee, as a gunsmith who has retired to Mexico to raise rug-rats, and it’s there Caulder’s mettle is first tested.

I did suspect that she wouldn’t be able to complete her mission without significant male help – this was made in 1971, after all. I was somewhat right, but only somewhat. The ending is both fairly satisfying, in that it avoids the obvious get-out in this direction, but also unsatisfying, in that it merely replaces it with a different one, which is likely too much of a deus ex machina to be acceptable. However, there’s no denying Welch’s credentials as a screen icon, and if this could never be called a classic of the genre, there’s enough here that does work, to make this more than an acceptable entry in the field. Even if one which, thanks to its Anglo origins, perhaps would be best accompanied by a nice cup of tea.

Dir: Burt Kennedy
Star: Raquel Welch, Robert Culp, Ernest Borgnine, Strother Martin