Land Raiders (1969)

landraidposBefore he became instantly recognizable as TV detective Kojak, Telly Savalas was a staple in tough guy movies in the late 1960’s and through much of the 1970’s. While many American stars went to Europe during this time to star in the spaghetti western flicks, Savalas sorta did that, heading to Europe for a trio of American-backed westerns that are quasi-spaghettis. The look, the feel…it’s almost there. The list includes 1972’s Pancho Villa, 1971’s A Town Called Hell and today’s review, 1969’s Land Raiders.

In the Forge River Valley in the Arizona territory in the 1870’s, rancher Vince Carden (Savalas) is king. With his immense cattle ranch, Carden keeps scooping up land as other smaller ranchers simply can’t keep up, both with him and raiding Apaches. One day, Carden’s younger brother, Paul (George Maharis), rides back into town after several years away from the family’s ranch. The reason? A tragic incident from their past, Paul forced to ride away. He’s drifted back home now, but his timing couldn’t have been worse. Vince continues to try to sweep away the raiding Apaches nearby, but efforts are being made to broker a peace treaty. Vince though…he may have ulterior motives. Right in the middle, Paul returning and simply looking for some answers.

I caught this western a couple times as a kid when it aired in the afternoon on TBS (oh, those were the days). From director Nathan Juran, ‘Raiders’ is a pretty good example of a wave of spaghetti western knockoffs that American studios released trying to duplicate the success of Sergio Leone’s Dollars trilogy. None reached those levels, but they’re almost uniformly entertaining. The filming locations here are familiar (in a good way) and frequent Ennio Morricone collaborator Bruno Nicolai turns in an excellent score that’s fairly reminiscent of the iconic Dollars scores (also in a good way). Give it a listen HERE. It doesn’t rewrite the genre, but I’m always entertained here.

My favorite Savalas role is in 1970’s Kelly’s Heroes, the rare role where he isn’t the villain. Man, he was so good at playing that dastardly, bastardly, bloodthirsty bad guy. That’s the case here in ‘Raiders,’ his Vince — actually Vincente Cardenas — is as greedy as they come, and he doesn’t care how many bodies he has to climb over to get to the top. Maharis is solid as Paul — actually Pablo Cardenas — who returns to deal with his past, a former love who died under suspicious circumstances. Not quite a heroic good guy, he nonetheless is far better than his brother. A cool dynamic between the Carden/Cardenas brothers.

Not much star power on display here in ‘Raiders’ other than our lead duo. Arlene Dahl plays Vince’s wife, oblivious to her husband’s actions, Janet Landgard as Kate, the sheriff’s daughter returning to town at the wrong time, Guy Rolfe as Major Tanner, the cavalry commander with an English accent (?), and Phil Brown as Sheriff Mayfield, torn between his boss (Vince) and his morals. Also, in some bizarre casting, Paul Picerni plays two different roles, one as Vince’s henchman and another as Arturo, an old friend of Paul’s. Are we not supposed to notice? Also look for John Clark as Ace, another Vince henchman, and familiar face Fernando Rey as a priest who makes a lightning-quick appearance.

I’ll give ‘Raiders’ credit. It deals with familiar territory — Indians vs. settlers/ranchers — but manages to make it interesting and unique. Some foggy, stylish flashbacks help illuminate the Carden/Cardenas history, revealing a twist that’s not so twisty in the end. It clocks in at 101 minutes, fleshed out with some footage from a 1950’s American western I can’t place. Much of the budget seems to have been saved for an action-packed finale as the Apaches finally attack a forted-up town defended by the townspeople and the cavalry. Pretty dark ending all-around.

A classic? Nope, but pretty entertaining, and decidedly different. Worth a watch.

Land Raiders (1969): ***/****

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Welcome to Hard Times (1967)

welcomehardtimesSome westerns just defy genre conventions, whether intentionally or not. In America’s wild west in the late 1800’s, did everyone carry a gun? Was everyone a hard-boiled killer? It wasn’t all cowboys and Indians, gunfighters, sheriffs and bandits. It’s the rare western that tries to tell a story from the perspective of the normal people, like 1967’s Welcome to Hard Times.

In the isolated, one-street town of Hard Times, the population lives a quietly, lonely life, and then a murderous gunslinger (Aldo Ray) rides into town. Unchecked by anyone willing to stand up to him, he rapes and kills a saloon girl, kills a handful of people, burns several buildings and rides out. In the wreckage of the town, the mayor, Blue (Henry Fonda), decides to rebuild and put the incident in the past. Several survivors agree to stay on and help the rebuild, along with a variety of eclectic strangers who find their way to Hard Times. As they build the town back up though, Blue knows the potential the gunslinger comes back and ravages Hard Times again. Will someone be able to stand up to him this time?

Based on a novel by E.L. Doctorow (a good read), ‘Welcome’ asks an interesting question. Are guns the answer? Basically every western ever says….YES. Sure, characters question themselves, sometimes giving up their guns in the end as they settle down, but to stop bad, you need violence. From director Burt Kennedy, ‘Welcome’ doesn’t seek to give you an answer about the question, but it certainly throws it out there? Sticking relatively close to the Doctorow novel, it is a very literary film, stock characters — the peaceful mayor, the murdering gunslinger, the drifter, the broken woman, and so on — that tries to take a different look at a very familiar genre.

Unfortunately…it’s mishandled. It tackles too much and doesn’t know what it wants to say or how in a 103-minute movie. The first 20 minutes as Ray’s Man from Bodie attacks Hard Times is amazingly uncomfortable, playing out almost like a horror movie. The middle section is like a family western, eclectic, eccentric strangers moving into town, a far lighter tone with some foreboding undertones. The finale? Well, it ain’t pleasant with some surprising twists. But then after all that, the movie ends on an odd note. The story itself is too broad, the tone going up and down like a rollercoaster. It’s not a bad movie, just a potentially good movie that never quite rises to the occasion.

It’s hard to ignore the movie though because of the strong cast. Even in bad-to-okay flicks, Fonda was worth watching, and here’s no exception. His Blue is a former gambler and cowboy, now living peacefully who questions what picking up a gun would accomplish. It’s a fascinating character, far from your typical western hero. Janice Rule is one of the most shrill characters ever as Molly, the saloon girl attacked by the Man from Bodie and holds Blue responsible for the attack and his lack of action. It’s just an awful character with no shred of likability. Ray is an incredible presence as the Man from Bodie, a remorseless killer with no qualms about raping, ravaging and killing.

Also look for the always welcome Keenan Wynn as Zar, a traveling saloon owner who with partner/wife, Adah (Janis Paige), travels with their 3 prostitutes wherever the money takes them. Warren Oates is Leo Jenks, an amiable drifter who’s good with a gun, John Anderson plays dual roles as shopkeeping brothers. Some impressive character actors show up, including Denver Pyle, Paul Fix, Royal Dano, Edgar Buchanan, Elisha Cook, Lon Chaney Jr. and Alan Baxter.

As much of a mixed bag at this western is and the mediocre rating I’m giving it, I’m still recommending it for western fans. The cast is pretty cool, and even if it doesn’t deliver, there is potential galore on-hand. Go for the ride and brace for some of the twists and turns you’ll get as opposed to a more traditional western.

Welcome to Hard Times (1967): **/****

An Eye for an Eye (1966)

An Eye for an EyeThe wild west gunslinger is one of the most iconic archetypes to come out of the western genre, right up there with the cowboy and the cavalry trooper. But how about a more specific gunfighter? I’m thinking the disabled gunfighter, undone by wounds, disease, and any number of other plights. With 1966’s An Eye for an Eye, we don’t get one…but two disabled gunfighters!

An infamous bounty hunter, Talion (Robert Lansing) has given up his career with guns and started a family. An enemy from his past though, bloodthirsty Ike Slant (Slim Pickens), isn’t having it though, raping Talion’s wife, then killing her and their son, burning the house down on the way out. Swearing revenge, Talion picks up the gunman’s trail, eventually meeting a younger bounty hunter, Benny Wallace (Patrick Wayne) along the way. They form an uneasy partnership to track down and kill Slant and the two gunfighters riding with him. Their plan goes awry though, forcing the two unlikely partners to depend on each other far more than they ever anticipated. Can they put their rivalry aside to get Slant?

An interesting little western. Definitely a B-western with a smaller budget and cast, ‘Eye’ is still an entertaining, different western entry. I first rented it on Netflix years ago and recently recorded an airing on TCM. It’s not a classic, but it holds up. A second unit director predominantly, director Michael Moore (not that Michael Moore) works off a script from Bing Russell, a familiar face western fans will have seen in The Horse Soldiers and countless other TV westerns. It’s pretty traditional overall but rises above with a nice twist delivered near the halfway point. Stop your reading if you don’t want to be spoiled.

That nice twist? In a showdown with Slant and two gunmen, Talion’s gun-hand is crippled and Benny is blinded by a wayward bullet. Slant escapes, only to find out later that the bounty hunter duo is basically helpless and would be easy targets. Needing each other more than ever, Talion and Benny devise a plan where the crippled gunman calls out where the target is as if that target was a specific time on a clock, Benny doing the shooting. Pretty cool, huh? I thought so. It’s unique and different from just about any other western I’ve seen. It gets definite points for originality. End of relative spoilers.

Neither Lansing or Wayne had huge star power, but we’re talking two very capable western/action actors. I like Lansing’s Talion and the edge he brings to the part. Wayne — often overshadowed by his Dad, the Duke, nicely holds his own here. He does very well physically as the blinded bounty hunter, but he gets to show off his acting chops a bit (if a little overdone with one unnecessary twist late). As for Pickens, he looks to be having a ball as the villain, hamming it up and enjoying his turn as a bad guy. You realize he often played likable sidekicks, not getting many villainous roles.

Also look for the always welcome Paul Fix as a store owner in an isolated mountain town, working with his daughter (Gloria Talbott) and precocious son (a young Clint Howard). Another recognizable face, Strother Martin, gets to work the middle as a greedy gunhand who works for whoever pays him. A little slow-going at times as Talion meets (and sorta woos) Talbott’s Bri, but it’s never too slow. It definitely builds up the tension to the inevitable showdowns.

Something likable about this little-known western. Doesn’t rewrite the genre, but seems to enjoy throwing a new wrench into a familiar formula. Snow-capped, windy filming locations in Lone Pine, California definitely add to the mood. Worth a watch for western fans. I’m seeing different running times listed — avoid the “full movie” on Youtube at 76 minutes — but both versions I saw clocked in at about 95 minutes. Just a hopefully helpful FYI!

An Eye for an Eye (1966): ** 1/2 /****

The Wrath of God (1972)

wogposSimply put, but…Robert Mitchum was cooler than you. He’s cooler than everybody. A Hollywood legend, Mitchum was one of the first true bad boys. He didn’t care. He did things his way, and his laid-back but memorable acting style produced plenty of classic movies and performances. One of my favorites? A brutally underrated, truly odd western that’s all but forgotten, 1972’s The Wrath of God.

It’s the 1920s in an unidentified Central American country and three unique individuals have been brought together — blackmailed — to perform a suicide mission. The unholy trinity includes Van Horne (Mitchum), a machine-gun toting, bank-robbing priest, Keogh (Ken Hutchison), an IRA gunman on the run, and Jennings (Victor Buono), a cashiered British army officer now with his hand in anything and everything illegal, including gun-running. Their mission? Kill a rogue army officer, Tomas de la Plata (Frank Langella), who causes constant trouble for the army and government. Their work is cut out for them as de la Plata lives up in the mountains surrounded by a small army of gunmen and a heavily fortified hacienda. Can the trio pull off the job, clear their names and get out alive?

I first caught this on TCM back in the early 2000s, then couldn’t find it, then finally tracked it down a few years later. It’s been a favorite ever since. Based off a novel by Jack Higgins (as James Graham), ‘Wrath’ is an oddity, a unique western that is unlike just about any other western I can think of. It’s so odd at times that a fair share of reviewers think it’s actually a spoof. My thought? It ain’t. Simple as that. From director Ralph Nelson, ‘Wrath’ is a western that while influenced by spaghetti westerns and the changing times for the American western, stands alone. It’s a funny, cynical, violent and for me, highly memorable flick. A gem, one I can go back and re-watch time and time again.

My best description is that ‘Wrath’ has style. Filmed on-location in Mexico, it feels authentic, like we’re watching the story take place where it did happen. Gorgeous looking flick with familiar locations you’ll have seen in other westerns, like Vera Cruz and The War Wagon. The final shootout at the de la Plata hacienda was shot in the same location as the finale to Vera Cruz, a ridiculously cool extended sequence. Composer Lalo Schifrin turns in a great score too — listen HERE and HERE — that’s jazzy and flamboyant at times, but also reminiscent of a spaghetti western score in other instances. An underrated score, especially driving the action scenes.

But back to that Mitchum guy. Underplaying his part but clearly having a ball, he adds a third “priest” part to his filmography, joining The Night of the Hunter and 5 Card Stud. His Father Van Horne has some secrets — explained late — but it’s such a fun part from the word go. When he makes his big reveal, taking out a Thompson sub-machine gun and mowing down a saloon full of bandits, it’s a genuine laugh out loud moment. It never lets up as Mitchum delivers a surprisingly layered part as Van Horne. What drives this quasi-priest? Is it greed or something else? Well worth finding out.

Rounding out the unholy trinity, Hutchison and Buono aren’t big stars, but they’re perfectly cast. The chemistry among the three actors is impeccable. Any big reason? A script that crackles with great dialogue and one memorable line after another. Jennings’ oft-repeated “We’ll get along famously!” is a favorite, as is Van Horne’s “All is not what it seems.” Check out IMDB’s Memorable Quotes (I added those quotes years ago. You’re welcome!) for a good sample of the quality of dialogue. One of my favorite — if unlikely — men-on-a-mission teams. Hard to beat a machine-gun toting priest, an IRA gunman and an overweight, hard-drinking gun-runner. Hutchisons’ Emmet also gets the love interest, a beautiful Indian girl, Chela (Paula Pritchett), who’s mute.

Mitchum, Hutchison and Buono dominate the screen, which is odd considering how low Emmet and Jennings are in the cast listing. The reasoning? The bigger names playing smaller parts, almost cameos. Langella hams it up as the unhinged Tomas, always seemingly on the brink of losing it. Oh, and he loathes priests (ALL priests) with a passion. In her last film, Rita Hayworth plays Tomas’ tortured mother, trying to hold it all together. Struggling with Alzheimer’s during filming, she apparently had trouble reciting/remembering lines. Also, John Colicos makes the most of a one-scene appearance as Colonel Santilla, the messenger of death and commander of the region who sends the trio on their suicide mission.

Also, look for familiar western faces in Gregory Sierra, Frank Ramirez, Enrique Lucero, Aurora Clavel, Chano Urueta and Jorge Russek in supporting parts. Sierra is especially good as Jurado, Tomas’ brutal, bullish enforcer.

Not a huge action movie, ‘Wrath’ saves its firepower for the last 30 minutes when Van Horne and Co. make their play against de la Plata. A bullet-riddled shootout in a village square packs a whallop, but the finale at the de la Plata hacienda is the best, most memorable part. Some twists, some awesome moments — Buono driving a Mercedes as a battering ram with one hand, blasting away with a machine gun with the other stands out — and plenty of action. Mitchum saves the best for last in a classic final line. A classic movie overall? No, not by a long shot, but one of my favorites and a hilariously entertaining western. A must for western fans, and well worth tracking down.

The Wrath of God (1972): *** 1/2 /****

Firecreek (1968)

1968-firecreekIn a career spanning 6 decades, Henry Fonda became synonymous with heroic lead characters who always fought for what was right, fighting for the underdog, and often doing it at his own expense. And then he wasn’t! In 1968, he took 2 villain roles in westerns, one that’s a classic and pretty well-known, Once Upon a Time in the West, and the other a far lesser-known but still quality western, 1968’s Firecreek.

In the tiny, isolated town of Firecreek, farmer Johnny Cobb (James Stewart) lives with his wife and their 2 boys. His wife is also expecting their third child. Johnny doubles as the town sheriff, but the town doesn’t necessarily need him to do much as he quietly earns (sometimes) his $2 a month. The peaceful, even boring town is about to get some excitement though. A gunfighter, Bob Larkin (Fonda), and his gang of four fellow gunslingers have ridden into town. They don’t start off causing any trouble at first, but that quickly changes. Basically on his own, Cobb must decide what to do. Where’s his line? How far should he let these men push before he pushes back? Whatever his decision, the townspeople are scared to death of any possible repercussions, leaving Johnny seemingly on his own.

The obvious comparison for this 1968 western from director Vincent McEveety is the classic 1952 western High Noon. The basic connection is obvious, a small-town sheriff forced to defend his town on his own against a gang of bandits. The basic premise is there, but 16 years later, things had changed in the western genre. Stories were nastier, more adult, more violent and for lack of a better description…more uncomfortable. This is an excellent western, but it isn’t necessarily an enjoyable western. It’s not fun, it’s not exciting. Instead, it’s nerve-wracking, the tension building all the time to a tough but ultimately highly memorable finale.

It’s hard to beat a pairing of two Hollywood legends like Jimmy Stewart and Henry Fonda. They co-starred in 1962’s How the West Was Won but didn’t have any scenes together, so this was the first pairing for the iconic pair. They would co-star 2 years later in another solid western, The Cheyenne Social Club. Here in Firecreek, they don’t share a ton of screentime, but what’s there is prime.

Where ‘Firecreek’ succeeds so well is as a character study of Johnny Cobb and Bob Larkin. Neither man is truly content with his life. Cobb begins to realize as much as he loves his family, he made an unconscious decision years before to simply…settle and not challenge himself. He’s capable, strong-willed and patient, well-respected by the small population of the town. Fonda’s Larkin is a gunfighter, pure and simple, but not necessarily a bad one. He’s a self-proclaimed leader of men, always riding out front into the dirtiest, hairiest jobs. When things take a turn for the worse, Larkin wants to see how far he can push, even though he might not agree with his men’s actions. Rock and a hard place, but something has to give. Memorable performances from two Hollywood legends.

In creepy supporting parts look for Gary Lockwood, Jack Elam, James Best and Morgan Woodward as Larkin’s gang. Lockwood is especially memorable as a possibly unhinged gunslinger, Earl, with Elam and Best also making the most of supporting parts. Inger Stevens plays Evelyn, a widow who’s basically hiding in Firecreek, wasting her life away. Robert Porter plays Arthur, a simple-minded stable boy who idolizes Johnny, with Dean Jagger, Jay C. Flippen and John Qualen as some of the townspeople. Ed Begley is a fire-and-brimstone traveling preacher. Barbara Luna plays Meli, an Indian woman with a half-breed son (oh, scandalous backstory) with Brooke Bundy playing Leah, a teenage girl oblivious to the gang’s intentions and Jacqueline Scott as Cobb’s wife. Good supporting cast all-around.

Clocking in at 106 minutes, ‘Firecreek’ takes place in a little over a 24-hour period. The story is set almost entirely in the small town with a couple ventures out into the country, giving it an almost theatrical feel. The town – small, dusty and depressing – becomes a key character in itself. Even as the gang rides in, there’s a sense of doom hanging in the air. What’s gonna happen? Who’s gonna light the match of this powder keg? That’s where the uncomfortable qualities take off from. ‘High Noon’ was a nerve-wracking final product, but there’s an added, harsher edge here because we’ve gotten to see the depths the gang has gone to.

There’s little in the way of action for the first 90 minutes, but then with one shocking reveal in the third act, things take off like crazy. It’s not a huge gunfight, but instead a cat-and-mouse hunt through the town with some surprising touches of violence. An incredibly tense ending to a lesser-known but high quality western. Definitely should check this one out.

Firecreek (1968): ***/****

Quigley Down Under (1990)

quigley_down_underWorking regularly since the 1970’s, Tom Selleck has had plenty of success on TV, including Magnum PI, Blue Bloods and the Jesse Stone movies, not to mention recurring roles on several other series. He’s been a staple in the western genre too, especially a handful of memorable TV movies. One of his best though was released theatrically in 1990 and has been a fan favorite ever since, Quigley Down Under.

An American marksman who’s gained a reputation with his modified Sharps rifle, Matthew Quigley (Selleck) is traveling to Australia in search of a job. An Australian rancher, Elliott Marston (Alan Rickman), has searched around the world for the best long-range marksmen for a job, and he thinks he’s found his man in Quigley. The job? It’s not as advertised. Marston is having a problem with the natives with the Aborigines in the area killing his cattle. They’ve learned to avoid his men and their rifles though. In steps Quigley hopefully, picking them off from long-range. Quigley isn’t having it though and is double-crossed by Marston and his men. Along with a crazy woman, Cora (Laura San Giacomo), Quigley is left for dead in the Australian outback. Can they survive? Can they exact revenge on Marston in the process?

I learned something while researching this movie. This 1990 flick from director Simon Wincer (Lonesome Dove) is known as a “neo-western.” It’s far from your typical western, obviously doesn’t take place in America, and is made with almost an entirely Australian cast. Whatever you wanna call it or classify it as, know this. It’s very good. It was filmed on-location in Australia and looks amazing. Wincer pairs again with composer Basil Poledouris again after their success with Lonesome Dove, and the result is a great, memorable score. It sounds part Lonesome Dove, part The Son of Katie Elder. Give it an extended listen HERE.

‘Quigley’ was in the works since the late 1970’s with Steve McQueen (can you imagine that?!?), Clint Eastwood and Harrison Ford all considered for the part. It ultimately went to Selleck, and that’s just fine! Selleck looks like a cowboy. He acts like one. He sounds like one. I love his Quigley character because it is so fish out of water, and you don’t often see that with the archetypal western hero. Usually those stories take place in…well, the American west. He’s got an imposing presence and brings a calming energy to the proceedings. No matter what gets thrown at him — a lot gets thrown at him — Quigley rolls with the punches. He’s a man of his word and expects others to do so too. A great character to lead the way.

Fresh off the immense success of Die Hard, Rickman is a scene-stealer as Marston. If anything, he’s underused. Marston is fascinated by the American west, making himself into a fast draw artist and is like an adoring fan when he meets Quigley. And let’s get right to it. That voice….that voice. I’d listen to the man read the phone book. San Giacomo is good as Crazy Cora, but the character is a little overdone at times. Her backstory is fascinating and her chemistry with Selleck is excellent, but it gets laid on a little thick at times. Some of Marston’s men include Tony Bonner, Jerome Ehlers and a very young Ben Mendelsohn. Chris Haywood plays Ashley-Pitt, a British officer hunting deserters who has a history with Marston.

At 119 minutes, ‘Quigley’ drags a little in the middle portions. It drifts at times, all with an eye of where it needs to get. More of a character study than an action movie, there is more action in the last hour as Quigley and his Sharps rifle go to work on Marston’s empire. With Poledouris’ music, the outback backdrop and Selleck’s star power, there are some moments of pure perfection. The final showdown? A perfect twist that’s delivered in a great fast draw shootout.

Just a good western. Unique but nothing crazy, it’s a must-watch for Selleck and western fans.

Quigley Down Under (1990): ***/****

Four Guns to the Border

fourgunsposWhen a B-movie is bad, it can be really bad as its smallish budget and production value takes a toll. When it’s good though? You feel like you’ve stumbled into a hidden gem. That’s the case with 1954’s Four Guns to the Border, a snappy, fun little western based off a Louis L’Amour novel.

After a botched robbery results in nothing more than an empty safe that was supposed to be packed to the seams, a bandit named Cully (Rory Calhoun) and his gang ride out into the desert to plan their next move. Cully has an idea, but it is a desperate one. He’ll ride into the town of Cholla, a town he used to live in before he was run out of town by his friend-turned-marshal, Jim Flannery (Charles Drake). While he causes a distraction, his men will take advantage and rob the bank. That’s the plan at least. Cully and his gang come across an aging gunslinger (Walter Brennan) and his beautiful young daughter, Lolly (Colleen Miller), who has eyes for Cully. With an Apache war party in the area, everything is up for grabs.

There are hundreds and thousands of westerns out there in Movie Land just waiting to be found. Long story short? I’ll give any western a try. Flicks like this from actor-turned-director Richard Carlson are a welcome find. It’s the perfect example of a quality B-western. Small scale and small budget with a manageable cast, a straightforward story, some lovey-dovey for the ladies, and enough action to keep things moving. At just 83 minutes, ‘Guns’ drifts a little bit in the third act, but it’s fun from beginning to end. It never overstays its welcome and is a western I can highly recommend. Definitely track this one down.

I grew up reading Louis L’Amour westerns, and I still circle back every so often and give one a read. They’re like comfort food; familiar, always good and you always come back for more. There’s a formula too, one which ‘Guns’ follows along with. L’Amour’s anti-heroes — bandits, cowboys, drifters — were never that bad. When push comes to shove, they almost always made the right decisions — their bad guy-ness be damned. Throw in a gang of an old guy, a young firebrand and typically a minority, a pretty girl who has no business being on her own, some nameless, easily dispatched villains, and you’ve got a good mix!

Calhoun is an underrated gem in a variety of tough guy genres, especially the western. He was never a huge star, but he was always a welcome presence when I see his name pop up in a cast. I like his Cully, a tough, quiet, no-nonsense outlaw trying to outrun his past (and eventually get even). His gang is pure L’Amour, including Dutch (John McIntire), the old-timer looking for some $ to start a ranch, Bronco (George Nader), the young, fun-loving fast draw, and Yaqui (Jay Silverheels), the Indian tracker. These aren’t the dark, blood-lust bandits of so many later westerns. This is a likable bunch who I found myself rooting for. And let’s be honest…it’s cool to see Lone Ranger sidekick Tonto in a quasi-bad guy part!

Now for the interesting almost pornographic portion of our review! I’d never seen the very lovely Colleen Miller before in a movie, but….well, let’s say this is a pretty memorable turn. She’s a pretty decent actress, miles ahead of many pretty faces cast in B-movies! Carlson and the script call for some…I’ll say “Interesting” situations. Knocked out with a hit to the head, she gets a bucket of water poured on her, but Brennan misses her head and gets her shirt (a lot). She also flashes some leg getting into a dress, has a candy cane while the men ogle her, and runs out to the barn in a rainstorm while wearing a white nightgown. Not a complaint — she’s gorgeous — but the studio was clearly appealing to its male audience.

Also look for Nina Foch as Flannery’s wife, a woman who clearly has some history with Cully (uh-oh, unspoken love triangle!), and Nestor Paiva as Greasy, the owner of a saloon/store in the desert with some ties to our almost heroic outlaws.

I give ‘Guns’ credit. It’s pretty straightforward stuff, but it is also pretty unique. There’s some good twists and turns along the way in a story that doesn’t seem too familiar. I especially liked the twist about an hour into the movie as the gang makes a heroic decision. The ending itself could have been a whopper of a downer if Carlson wanted…but it’s 1954 America, not 1968 Italy in a spaghetti western. Still, it’s an excellent, generally little-known western. Well worth tracking down.

Four Guns to the Border (1954): ***/****