Where Eagles Dare (1968)

where_eagles_dare_posterReleased in 1961, The Guns of Navarone was a fan favorite and was a key war movie in terms of its influence. It opened up all sorts of doors for one of my favorite sub-genres, the men-on-a-mission movie. Based off a novel by author Alistair MacLean, it was a gem. MacLean tweaked the idea when he was approached by a producer several years later for a similar but BIGGER and BETTER version. The result? From 1968, Where Eagles Dare.

It’s winter 1943-44 and Major John Smith (Richard Burton) has been summoned for an impossible mission. An agent with years of experience and countless missions under his belt, Smith and a small team of commandos, including an American Ranger, Lt. Schaffer (Clint Eastwood), will parachute into the snow-capped mountains of Bavaria on a rescue mission. An American general with detailed knowledge of the second front — D-Day — has been captured by German forces and sent to the Schloss Adler, a remote, well-guarded fortress on a mountaintop where he will be interrogated by German intelligence. The clock is ticking with the general’s knowledge potentially altering the course of the war. Smith, Not is all as it seems though as Smith and the team parachute into Germany. What exactly is going on?

The backstory here is fascinating. Burton’s stepson wanted him to do a good, old-fashioned, action-packed flick that audiences would love. Burton approached a producer, the producer approached MacLean who 6 weeks later came to him with the script (and later the novel) for Where Eagles Dare. It became a huge hit and is now considered a classic while still remaining a fan favorite. How can you not love a perfectly random story like that when a movie really hits it big?

Watching ‘Eagles’ and ‘Guns,’ you can’t help but notice the similarities. That’s a good thing though! The impossible mission, the crew of expertly trained specialists, the exotic location, the twists and turns, the betrayals, and as ‘Eagles’ seems to take it as a challenge, the obscene amount of ACTION. I have issues with the story — more later — but as pure entertainment, ‘Eagles’ is a gem, much like Guns of Navarone is/was. This 1968 war flick requires more viewer interaction (better pay attention, you’ll get lost qqquick once the twists start flying), but it’s worth it to keep up throughout the 154-minute run-time.

It’s just cool to watch Richard Burton and Clint Eastwood play off each other. That’s all. It just is. Classically trained Burton and tough guy Eastwood have this underplayed charm to their relationship. Burton’s Smith knows what’s going on while Eastwood’s Schaffer is just trying to get through the mission alive. MacLean’s script provides so many great little moments between the duo with both actors not missing a chance to deliver a snappy one-liner. Also, the call sign ‘Broadsword calling Danny Boy,’ there’s nothing fancy about it, but Burton’s delivery makes it seem like a Shakespearean sonnet. Sounds almost musical when you hear Burton speak. Moral of the story, both actors are having a ball with the old-fashioned, spy shoot ’em up.

Not much star power here otherwise. Mary Ure is a welcome addition to the cast as Mary, a fellow agent working with Smith. No damsel in distress either. She’s a Badass with a capital B, a part of the team quite capable of using a machine gun to save herself. In small but parts, Michael Hordern and Patrick Wymark play high-ranking officers back at HQ waiting for updates. Donald Houston is the most visible of the rest of the team, but they’re there for the purpose of a twist or cannon fodder. Ingrid Pitt plays a barmaid with some secrets while familiar faces Anton Diffring, Ferdy Mayne and Derren Nesbitt play German officers.

What I’ve always found fascinating with ‘Eagles’ is the pacing. The first hour is set-up, all foreboding and mysterious. Clues are dropped here and there — pay attention, it’s worth it — as we’re introduced to the team and the mission. We see Smith and Schaffer put plans into work that won’t pay off — maybe at all — until days later. It seems unnecessary or wasted, but the payoffs are worth it. Now, the middle, the gigantic twist and turn that come at you a mile a minute. It’s a great scene running about 15 minutes where Burton just takes over, oozing charm and mystery in an almost monologue-like scene. Then, there’s the hour-long finale, a bullet-riddled chase and running gunfight where Eastwood dispatches half the German army without a single wound. Ridiculous? Yes, 100 percent, but it’s so damn fun.

A couple other things. Composer Ron Goodwin’s score is a gem, driving the action forward at all times with big, booming music. Listen to an extended part of the soundtrack HERE. Austrian filming locations don’t disappoint either, giving a true sense of authenticity to the impossible mission scenario in the snow-capped mountains. As for the story itself, the twist is awesome and the payoff is very memorable. But let’s face it, it’s ridiculous. Everything and I mean EVERYTHING, works out for Smith almost down to the second. As was the case before though, it’s ridiculous and if you think about it too much, you might just give yourself a headache. The point is….it’s damn entertaining and a hell of a lot of fun.

Just go for the twisting, turning ride with this WWII men-on-a-mission classic. Eastwood and director Brian G. Hutton would team up again a little over a year later with another WWII gem, 1970’s Where Eagles Dare. Also a must-see!

Where Eagles Dare (1968): *** 1/2 /****

Stagecoach (1966)

poster_of_the_movie_stagecoachOh, no. Here we are again. The unnecessary….remake!!! Considered by most to be one of the best westerns ever made, 1939’s Stagecoach is a key film that helped lay out a foundation for a whole type of western, not to mention helping skyrocket John Wayne to stardom. It’s one of those movies that doesn’t really need to be remade, retouched, reboot and re-anything. There just isn’t much to improve on. That said, Hollywood seems to take that as a challenge. A TV remake was released in 1986, but that’s looking ahead too much. Today’s flick is 1966’s Stagecoach.

In the town of Dry Rock, several undesirables are being booted out of town for different reasons, including Dallas (Ann-Margret), a dance hall girl, and Doc Boone (Bing Crosby), an alcoholic doctor with some debts. Sioux warriors have been reported on the warpath — including a massacre of a small company of cavalry fixing the telegraph line — so travel isn’t encouraged, but Dallas, Doc Boone and several other passengers desperately need to get up the trail to Cheyenne. Hoping to thread the needle, eight desperate people board a stagecoach. They’re in for a surprise on the trail, meeting the Ringo Kid (Alex Cord), an escaped convict looking for revenge. Ringo has his reasons though, and another gun on-board couldn’t hurt. Can the coach make it through unscathed?

So let’s get this out of the way. There’s no need to remake the original Stagecoach. Can you tweak some things? Update story devices to be more current, more modern? Throw an interesting ensemble together? Sure to all three questions. But do you need to? No, not really. From director Gordon Douglas, this 1966 version is a pretty decent movie. The cast is solid, the filming locations gorgeous, and the story itself works. There’s a reason the basic premise worked so well in the original. We’re talking life and death in the wild west. It’s hard to mess that up. This remake is good because the script/story is good, and little else. It will feel familiar and comfortable but not necessary in the least.

The biggest changes? The story breathes a little bit more, clocking in at 115 minutes to the original’s 99 minutes. The additional 16 minutes doesn’t add much unfortunately. More talking, more repetitive scenes, but not much more character development. Dallas’ personal life is explored more and more obviously — she’s a GASP prostitute! — and we actually meet the evil Plummers here which is a positive. Filmed on location in Colorado, the visual appeal is evident with snow and tree-capped mountains filling in for the dusty desert and massive rock formations. As well, composer Jerry Goldsmith‘s score is good, a precursor to his score two years later with 1968’s Bandolero! Some positives, some negatives, a mixed bag of changes.

An ensemble cast with a story full of misfits and flawed characters is a gimme. The cast is what pulled me in here more than the story. Like I said, how much can you change? Some good star power though here for sure. Ann-Margret is a more mean-spirited, angry Dallas. Cord is okay but not flashy as Ringo. John Wayne’s original entrance is an all-timer, but here, it’s an afterthought. The chemistry feels a tad forced between Margret and Cord even though the love between two outsiders should have been a gimme. The high point is Crosby as the hard-drinking, fun-loving, accepting life as it is Doc Boone. Steals the show with a fun performance.

Who else to look for on our stagecoach? The always reliable Van Heflin plays Curly, the marshal riding shotgun on the coach while keeping an eye on Ringo. It’s not a flashy part but Heflin is a pro and fits in nicely. Slim Pickens plays Slim Pickens, um, Buck, the worrisome coach driver and has some good chemistry with Heflin. Also look for Stefanie Powers as Lucy Mallory, a young pregnant wife on the way to meeting her husband, Red Buttons as Peacock, a whiskey drummer, Mike Connors as Hatfield, a gentleman gambler looking out for Lucy, and Robert Cummings as Gatewood, a robbing banker. Also look for Keenan Wynn as Luke Plummer, a killer and an outlaw who crossed Ringo and his family in the past.

Things are pretty slow for the first hour as everyone is introduced and things are laid out. The highlight of the film though is the Sioux attack on the stagecoach in the last 45 minutes. It’s an underrated action gem. Some great stunt work, even cooler camera angles and shots (thinking some helicopters were used of some sort) and a whole lot of carnage. I think Ringo, Curly and Co. may have wiped out half the Sioux nation in the process. A final showdown between Ringo and the Plummers is also expanded where in the original, the entire gunfight happened off-screen. A little slow early, but the action late is worth it.

Flawed but entertaining in the end. Still stick with the John Ford original from 1939, but western fans will get a kick out of this 1966 remake. Also worth sticking around in the credits as famous American painter Norman Rockwell painted portraits of the 10 main cast members. They look great and are a cool, unique addition to the credit sequence.

Stagecoach (1966): ** 1/2 /****

Fort Dobbs

fost_dobbs_poster_smallStarring in TV’s Cheyenne for seven seasons, Clint Walker shot to stardom as the burly hero of the long-running western. He never transitioned into a huge star in movies, but with a few exceptions (his supporting part in The Dirty Dozen among others) he was always quite at home in the western. Natural jump, right, TV to film? An underrated, exciting, well-made western, 1958’s Fort Dobbs, was one he made during his Cheyenne run.

Having killed a man in the small town of Largo, Gar Davis (Walker) heads off into the desert ahead of a posse. Comanches are on the warpath and killing anyone in their path though, Gar stumbling across a dead man with an arrow in his back. He switches jackets with the corpse and manages to trick the posse into thinking the Comanches killed him. Gar is still on his own though amidst raiding Comanches until he walks onto a small ranch run by a wife, Celia Gray (Virginia Mayo), and her son, Chad (Richard Eyer), who are waiting for her husband to return. He agrees to help the Grays get to the relative safety of nearby Fort Dobbs, but Mrs. Gray begins to think that Gar has a secret, maybe even about her possibly missing husband.

This is an example of what a western can and should be. The story doesn’t have to be on the level of The Searchers, Shane or High Noon where it delivers a message. It doesn’t have to be mindlessly stupid either full of action and gunplay. From director Gordon Douglas, ‘Dobbs’ isn’t a great, classic western. It is just a really good western, and that’s fine with me. It is shot on a relatively small budget with Max Steiner‘s score sampling his score from They Died With Their Boots On and even borrows some action footage from 1953’s The Charge at Feather River. But even on a small scale, it knows what it wants to do and how to get there. Unspectacular, solid entertainment that any western fan should be able to appreciate.

In the vein of the traditional, white-hat wearing hero from the 1940s westerns, Clint Walker is a great lead as Gar Davis. For starters, he looks like a western hero. Walker stood an imposing 6-foot-6 and weighed 235 pounds so he towers over basically everyone around him. When he starts talking, that deep, baritone voice sounds like it’s going to bounce off of people and echo back. His backstory is explained late in the movie, giving Gar a slightly darker side albeit a righteous darker side. Don’t go in thinking he’s the flawless hero, but he is a good hero who will ultimately make the right choice. It’s too bad Walker didn’t become more of a star in films because as is the case here and yesterday’s Gold of the Seven Saints, he’s perfect for the western genre.

He is capably helped in three main supporting parts, all three of which could have gone obviously very wrong. We’ve got the damsel in distress, her possibly shrill, annoying son, and a smooth, conniving gunrunner. Credit to Mayo, Eyer and Brian Keith for making the most out of their parts. I’ve long been a fan of Virginia Mayo, an actress who was always able to hold her own against some of Hollywood’s best tough guys. She’s tough, smart and gorgeous, able to stand toe to toe with Walker. Eyer as her son, Chad, is also very good. So often in the 1950s (maybe more than any other decade), child actors could single-handedly ruin the movies they’re in. In other films like Friendly Persuasion, The Desperate Hours, and The Seventh Voyage of Sinbad, Eyer shows he can act, genuinely act. He has a great scene with Walker too late in the movie, a natural, emotional scene for a 13-year old actor.

As for Mr. Keith, he’s a scene stealer as Clett, a gunrunner who keeps crossing paths with Gar and Celia as they make a run for Fort Dobbs. He obviously has had some past run-ins with Gar, and that tension comes out in these scenes, especially when Keith’s Clett goes after Mayo’s Mrs. Gray. I’m used to seeing him as more of a straight-laced good guy (like in Nevada Smith) so it’s great seeing him as a bad guy. It’s more of a smooth, quick-talking bad guy, but you get the idea. The final confrontation between Gar and Clett is appropriately epic featuring some great dialogue that feels right at home in the western. It’s not a huge part, but one that Keith knocks out of the park nonetheless.

The fairly straightforward story does just enough to keep you interested and/or guessing until the end. The Utah locations serve as a gorgeous backdrop to the trip to Fort Dobbs which upon arrival delivers quite a twist. The last 25-30 minutes are the more traditional cowboys and settlers vs. Indians story, but it’s handled perfectly. The action is exciting, even surprisingly graphic, and in the end everything wraps up nicely. Russ Conway has a good part as the Largo Sheriff in this final portion. Good, underrated western. Definitely worth checking out.

Fort Dobbs <—Youtube montage (1958): ***/****

Bad Day at Black Rock

bad_day_at_black_rockDirector John Sturges helmed two of my all-time favorite movies, 1960’s The Magnificent Seven and 1963’s The Great Escape. He specialized in tough guy movies, and in 1955 directed an interesting mash-up that features elements of several different genres, including film noir, mystery and western. How could that not work? Here’s 1955’s Bad Day at Black Rock.

It’s late in 1945 in the isolated western town of Black Rock. After four years of not stopping, a train stops at the station and one man steps off. His name is Macreedy (Spencer Tracy). He’s outfitted in a black suit and black hat and is carrying a suitcase, but no one has ever seen him before. No one in town has ever even heard of him. Polite and mannerly, he drifts around the one-street town, instantly arousing suspicion to his intentions. A local rancher, Reno Smith (Robert Ryan), owns the town, intimidating anyone who gets in his way. Smith and his men are concerned about what Macreedy is up to but they can’t figure it out. What is he looking for exactly in Black Rock?

What a great movie. Clocking in at a brisk 81 minutes, this is a movie without a wasted moment. It does effortlessly combine film noir, mystery and western archetypes in a way you wouldn’t expect. You think the story is going one way and then WHAM we’re going a different way. There is a minimalist style to it, but all these separate pieces meld together perfectly. Definitely a must-see movie.

Leading the way is Spencer Tracy as our mysterious lead, John J. Macreedy. He enters town with an unannounced mission, a smile on his face and some questions he’d like answered. An established Hollywood legend by 1955 (and then some), Tracy makes it look easy. Met with interference, stone faces and roadblocks everywhere he turns, he seamlessly moves along down another avenue. It’s only late when he’s pushed too far that he finally pushes back. His eventual confrontation provides one of the movie’s great moments, a genuine shock as he handles the situation. Maybe the biggest compliment you can give an actor is it doesn’t seem like they’re trying too hard. Tracy is a prime example, stealing scenes without us even realizing he’s doing it.

Typically directing guy’s guys types of movies, Sturges does not disappoint here. Ryan is the steely-eyed Smith, the town owner who knows more than he’s letting on. His scenes with Tracy crackle, intimidation just seeping through all his lines. His henchmen of sorts are pre-star Ernest Borgnine and Lee Marvin, equally intimidating and ominous. The rest of the townspeople include Walter Brennan as the doctor, Dean Jagger as the washed-up sheriff, Anne Francis as Smith’s girl and the garage owner, John Ericson as the hotel owner (and Francis’ sister), Russell Collins as the telegraph operator and Walter Sande as Sam, the bartender. Some good characters all delivering with key supporting parts.

An additional member of the cast is the on-location shooting in Lone Pine, California and the nearby Alabama Hills. The little one-street town features five or six small, rickety buildings with one main road splitting the town. Mountains hover in the distance over the town, a train zipping through once a day but never stopping. Sturges films the streets scenes low, both the cast and the mountains seemingly looking down at the camera. You feel the isolation and loneliness, a town seemingly separated from the rest of the world. That uneasy feeling of being trapped plays a key feature as Macreedy continues to ask questions. Has he dug himself too deep? A sun-drenched, uncomfortable setting for a story that takes place in a period of just 24 hours.

A classic that doesn’t always get its due. A must-see.

(1955): ****/****

Blue (1968)

Blue 1968I do my detective work when it comes to tracking down difficult to find westerns. It takes some work to be a fan! Typically Encore Westerns shows pretty familiar westerns, but they cover their bases with American and spaghetti westerns, older and newer, well-known and hidden gems, not to mention the TV shows they air. It’s rare though I find one I had no prior knowledge of, like 1968’s Blue.

 

In the border country along the Rio Grande River, a Mexican bandit, Ortega (Ricardo Montalban), leads a gang of 30 fellow outlaws who rob, pillage and kill. Among his men is a white man, Azul (Terence Stamp), who is accepted by the others and holds quite a reputation for his ability with a gun. Ortega is tiring of doing the same things over and over again and decides to lead a raid across the river into Mexico. It is a huge success, but a costly one. Azul (Spanish for Blue) is badly wounded in the raid. He is taken in by a young woman, Joanne (Joanna Pettet), and her father, a doctor, Doc Morton (Karl Malden), who nurses him back to health. Now Blue is left somewhere in between. Is he meant to stay and farm with the Mortons or returns to Mexico and his adopted father, Ortega? That’s a decision that is left up to Blue.

 

What an interesting — if flawed — western. Judging by the 1968 release date, the cast, and the crew, I figured I was getting a Euro/American cross-western with touches of a spaghetti western. Was I ever wrong! Instead, we get an artsy, almost literary western that belongs in a category all to itself. While there are touches of other westerns, ‘Blue’ is a flick content to march to its own drum. From director Silvio Narizzano, it is typical of the times with no clear-cut good guys and bad guys, no black and white but instead a whole lot of gray in the middle. Part Greek mythology, part romance, part western, it is quite the eclectic mix.

Name an unlikely lead for a western. Did you name Terence Stamp? You win! The 30-year old British actor is an odd choice to play Blue to say the least. It’s a mixed bag in the end. He brings some serious presence to the role as the quiet, intense and man of few words outlaw. His Cockney accent peeks through here and there — unless the character is supposed to be English?!? — and he seems less than comfortable with 1850s weaponry, but he brings a charmed and a doomed edge to the character. The backstory of how he ends up with Ortega actually lives up to the wait. Nothing too crazy, but effective as we see Blue tearing himself apart on what to do and where to go.

The rest of the cast holds their own too. Pettet plays well off Stamp and makes a strong female character in the process, a rarity in westerns. Their chemistry is believable and you’re rooting for them. Malden is a quiet, casual scene-stealer as Doc Morton, Joanne’s Dad. Some of the high points of the movie feature the father-daughter dialogue back and forth, neither one letting the other get the upper hand. Montalban is underused but highly effective as Ortega, the aging bandit at the head of an army of bandits, many of them his sons from countless sexual encounters with different women. Definitely an interesting choice there.

 

Not much else in terms of recognizable faces, but also look for Joe De Santis as Carlos, Ortega’s older brother who still rides with him, and Anthony Costello as Jess, a suitor of Joanne’s and a rival to Blue for her affections.

 

Pretty horrifically ripped by critics at the time, ‘Blue’ has generally been forgotten in the years since. I happened to enjoy it. Sure, it’s a tad slow-paced at times in the middle. The love story is slightly overdone and forced at others. But through it all, there is a charm I’m struggling to express. It is a beautiful-looking final product. Filmed on-location in the wilds of Utah, we get stunning shots of mountains and prairies and flowing rivers, including some familiar locations for John Ford movies. If you hate the story itself, the visual alone might keep you interested. I similarly enjoyed the underplayed score from Manos Hatzidakis. Check out the opening credits HERE. It is definitely more of an artistic western, not a down and dirty shoot ’em up. Lots of appeal though.

 

There were portions I wish there was more of. I loved the visual look of Ortega’s gang, popping with color as his bandit sons march into battle like a cavalry company. What’s the backstory here? The story takes place in the 1850’s, the clues hinting that Ortega fought with the Mexican Army during the Texas War for Independence. The finale itself packs a wallop too of action during a bloody river battle. Quite an ending overall, including a beautiful final shot. Flawed? For sure, but a lot of positives in a highly unique western.

Blue (1968): ***/****

Kill Them All and Come Back Alone

go_kill_everybody_and_come_back_aloneThough he starred in over 50 films, headlined a couple lesser-known TV series and was even a pro baseball player, Chuck Connors will always be remembered as TV’s The Rifleman, an iconic role and one of the great TV western heroes. By the late 1960’s though, Connors went the route that many American stars did and headed to Europe for the spaghetti western craze. He starred in an entertaining Dirty Dozen-esque knockoff with one of the coolest movie titles ever, 1968’s Kill Them All and Come Back Alone.

During the Civil War as fighting rages in Texas, a gunfighter/outlaw, Clyde McKay (Connors), is enlisted by Confederate forces for a dangerous mission. The Union army is sitting on a huge gold shipment at a well-guarded outpost in the mountains. The gold is actually hidden among bundles of dynamite, making a potential robbery even more dangerous. McKay recruits five other men — killers, cutthroats and thieves — to aid in the mission…destroy the gold at all costs. With a Confederate intelligence officer (Frank Wolf) along for the ride, McKay and his crew ride out into the desert. The thought persists though…why destroy the gold when you could just as easily steal it?

The name Enzo G. Castellari might not be synonymous with other great spaghetti western directors, notably the two Sergios, Leone and Corbucci. Castellari was still a young director in 1968 when he helmed this action-heavy western. Over the next 10-plus years, he would direct some high quality action flicks that were almost always crowd pleasers. There’s nothing much to this 1968 effort, just 96 minutes of crazy action, fun/cool characters and some twists, turns and betrayals along the way. Nothing classic but highly enjoyable and definitely a fun watch.

The formula here is a familiar one. Just a year earlier, The Dirty Dozen was released, the story of 12 convict commandos working together on a suicide mission. Countless knock-offs and reboots followed, both war movies and in westerns. The spaghetti western genre alone went back to the well several times, including A Reason to Live, a Reason to Die and The Five Man Army. There isn’t much in the way of star power here or even much character exposition (as in any), and no time wasted with anything but the streamlined action-heavy theatrics. Introduce the team, introduce the mission, let the fireworks begin. Easy-peasy, right?!?

Starring in his first spaghetti western, a very thin, vvvvery tan Chuck Connors is McKay, the intrepid leader of our suicide squad. Backstory? Nah! Connors is cool and looks to be having a ball. It is cool seeing him playing a pretty nasty character, especially relative to squeaky-clean Lucas McCain. Now we need some specialists to help! There’s Wolf as the suspicious Captain Lynch, then Hoagy (Franco Citti), a quick-handed killer with pistol or a unique rope garrote, Deker (Leo Anchoriz), a specialist with dynamite and an 1860’s dynamite launcher, Blade (Giovanni Cianfriglia), a half-Indian, half-Mexican knife expert, the Kid (Alberto Dell’Acqua), a steely-eyed killer, and Bogard (Hercules Cortes), the brutish strongman. A good team, star power be damned.

I was surprised when the main heist takes place just 45 minutes into the story. The attack on the mountain fortress is a doozy of gunfire, explosions and acrobatic death stunts. Our squad hits everything while an entire garrison of Union soldiers can’t even nick them. They also literally drop their weapons and charge at them for a good, old-fashioned fistfight instead. Noble, right? It’s big, overdone and dumb fun though. The last 45 minutes revolve more around some twists and betrayals that do slow the story down a touch. Castellari knows how to string together some action though. Criticize any number of things here, but the action is fun from beginning to end.

Turn your brain off and enjoy this one. Some great looking locations in Spain, a fun musical score, and action popping at the seams throughout. I watched it on Youtube HERE if you’re interested. Definitely worth a watch, especially for spaghetti western fans.

Kill Them All and Come Back Alone (1968): ** 1/2 /****

The Train Robbers

poster_-_train_robbers2c_the_28197329_01In the later years of his career, John Wayne stuck with the genre that made him a star. Sure, there were some Dirty Harry-esque excursions into the rogue cop genre, but the Duke stuck with the western. The efforts weren’t classics, but they were always entertaining. Case in point, 1973’s The Train Robbers, flaws and all.

A train pulls into the tiny, isolated town of Liberty, Texas. Two passengers get off the train, an aging cowboy named Lane (Wayne) and a pretty young widow, Mrs. Lowe (Ann-Margret). Lane has been hired by Mrs. Lowe to recover $500,000 in gold hidden somewhere in Mexico. Mrs. Lowe’s recently deceased husband is the only person who knows where the gold is, and he happened to tell her before he died. Unfortunately, several members of his old gang also would like to get their hands on the long-hidden gold, and they’ve hired a small army of gunmen to help them. With two old friends, Grady (Rod Taylor) and Jesse (Ben Johnson), along with three other gunmen, Lane and Mrs. Lowe ride into Mexico after the gold. Can they find the gold? More importantly, can they get out alive?

This western was a favorite of mine growing up. My Grandma recorded it off WGN, and I’d watch it whenever me and my sister had weekend sleepovers at her house. Does it hold up so many years later? Sorta. It’s still entertaining, but there are some major flaws. I wonder if it’d even be remembered if John Wayne wasn’t out front leading the way. From director Burt Kennedy, ‘Train’ clocks in at a swift 92-minutes (more on that later). It’s unlike just about any other Wayne venture. Is that good or bad? I guess that depends on how big a John Wayne you are.

You watch this movie because of John Wayne. It’s a familiar part for him, the resolute, capable gunman/cowboy, albeit one who’s getting up there in years. This is a performance he could do in his sleep, but because he’s the Duke, you can’t help but like him. Kennedy’s script provides him with some great one-liners — both comedic and dramatic — and he carries the movie with that easy-going, likable charm. His chemistry with Taylor and Johnson is impeccable, especially as we learn about their history dating back to the Civil War. There are issues with the story and pacing, but the quieter moments among our heroic lead trio and the lovely Ann-Margret always manage to bring it back together.

Here’s the best way I can critique ‘Train’ without completely ripping it to pieces. In writing the screenplay, Kennedy had an idea for the quiet, windy opening (a la Once Upon a Time in the West), a shootout over the gold at the halfway point, and a final shootout for all the marbles back at Liberty. In between? Filler, and lots of it. I would wager 20-25 full minutes are just shots of Wayne, Margret and the crew riding across Mexico. I’m not exaggerating either. The only reason that isn’t a deal-breaker is the location shooting in Mexico (similar locations as The War Wagon, Major Dundee, Chisum, Big Jake), and a memorable, whistle-worthy score from composer Dominic Frontiere. ¬†Give it a listen HERE.

It just feels like something is missing. The bad guys are nothing more than a faceless gang of riders on the horizon. We never get a name or even hear them speak. Budget issues? An intentional choice? There was some pretty good potential with the entire story, the cast and the execution. It just feels like there’s something missing. Also look for Christopher George, Bobby Vinton and stuntman Jerry Gatlin as the rest of Lane’s crew. George has some good scenes with the lead trio and more than holds his own.

And then there’s the finale. It’s rare you can say a western had a legitimately good twist, but ‘Train’ has it courtesy of Ricardo Montalban. Until the end, he’s just a presence lingering on the trail with our train robbers. He’s got a secret though, one that provides a great ending, especially a quick scene between Taylor and Johnson and a perfect final line(s). If it’s slow going getting there, know that it’s worth it in the end. A flawed final product, a bit of a mixed bag, but still a John Wayne flick worth watching.

The Train Robbers (1973): ***/****