Sergeant Rutledge (1960)

Sergeant RutledgeWoody Strode was a Hollywood legend. A former college football player, Strode transitioned into films, starting off in bit and supporting roles before building to scene-stealing roles and appearances, one of the first African-American actors to do so in Hollywood history. He truly broke through in 1960 with a trio of roles, The Last Voyage, Spartacus (the most iconic of the 3) and Sergeant Rutledge, an interesting — if flawed — western that was ahead of its time.

It’s 1881 in the American Southwest and a trial is set to begin at a cavalry outpost. On trial is Sergeant Braxton Rutledge (Strode) from the 9th Cavalry — a regiment of Buffalo Soldiers —  who is well-respected by the officers and the troopers for his unquestioned ability and leadership as a soldier. The charge against him? The rape and murder of a young white woman and the murder of her father, the outpost’s commander. Rutledge’s defense is Lt. Tom Cantrell (Jeffrey Hunter), the sergeant’s previous commander. The evidence is damning against Rutledge with no hope of an acquittal, both because of the evidence but also the horror of what he’s believed to have done, a black soldier raping a white girl. Will the truth come out?

Before a Congressional hearing, director John Ford famously said “I’m John Ford. I make westerns.” In a long, distinguished career, Ford is especially associated with the western genre, from his cavalry trilogy to The Searchers to The Man Who Shot Liberty Valance. ‘Rutledge’ is interesting because of the subject matter and of its ahead of its time portrayal of the west. For one, the Buffalo Soldiers are a focus, the film playing almost like a tribute to the bravery of the black cavalry troopers. For two, the counter, the depiction of racism in a dark, uncomfortable story about rape and murder. As the trial develops, it’s just that, it’s incredibly uncomfortable. Where he started with The Searchers in a more realistic west, Ford continues here and returns again in Cheyenne Autumn.

Ford’s westerns typically stuck to pretty traditional storytelling devices. Later in his career, he branched out with ‘Rutledge’ a prime example. It’s a courtroom drama told with a flashback developing within witnesses’ testimonies. The storytelling technique works out nicely, the drama unfolding almost like a stage play. Ford is synonymous with the outdoors, huge vistas and natural landscapes, so it’s pretty cool to see him thrive filming indoors on a set (more on locations later). Unique lighting, cool camera work, it’s a change of pace, but it works.

Strode’s Sgt. Braxton Rutledge is a character that steals the show. At times, Strode can be a little wooden, but he definitely gets his chances to show off his acting chops! His testimony is a highly memorable scene, a very human moment. You get little touches of his history too — Hunter’s Cantrell finding a piece of paper Rutledge carries with him that gave the former slave his freedom — as well as the sergeant’s fellow soldiers and the respect we see they have for him. Strode delivers his best performance in a distinguished, history-making career. Juano Hernandez is excellent too as Sgt. Skidmore, another Buffalo Soldier and a former slave.

Having worked with Ford five years earlier in the classic The Searchers, Hunter actually gets more screentime as Lt. Cantrell. He’s a solid lead to keep the story moving, a character who takes part in both the courtroom and the flashbacks as an Apache war party goes on a murderous rampage. Hunter was an underrated actor, and he was always likable on-screen. His budding romance with Constance Towers (a key character Rutledge saves from Apaches) never really develops, taking away the more interesting focus of Rutledge, the trial and the cavalry patrol. Ford regulars Jack Pennick, Chuck Roberson and several others play supporting/background parts.

Other than the romance that goes nowhere, my biggest issue is the usual light-hearted Ford touches he always insisted on in his movies. Case in point, the wives of the officers, the old white ladies ‘ooohhhhing’ and ‘aaahhhing’ at the more scandalous moments of the trial as they fan themselves. It’s a story about a rape and murder, and these comedic touches are HORRIFICALLY out of place. Willis Bouchey plays the president of the court martial, balancing the trial and the officers’ wives. Carleton Young delivers a harsh, overdone performance as Captain Shattuck, the prosecuting officer.

If the courtroom drama isn’t pulling you in, the flashbacks of the cavalry patrol  should appease the more traditional western fans. The filming locations in Monument Valley and Mexican Hat in Utah are appropriately beautiful, an authentic backdrop to the wild west story. The movie overall is a unique gem though, both for its traditional elements and its more innovative, unique elements like the courtroom drama. Definitely give this one a watch.

Sergeant Rutledge (1960): ***/****

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Wagon Master (1950)

Wagon Master 1950The late 1940s and early 1950s were undoubtedly John Ford‘s strongest era as a director. His strongest contributions, not so surprisingly, of the time (with the exception of The Quiet Man) came from the genre he’s most associated with, the western. And while his famed cavalry trilogy — Fort Apache, She Wore a Yellow Ribbon, Rio Grande — is synonymous with the genre, another western of the time gets lost in the shuffle and is almost entirely forgotten. Here’s 1950’s Wagon Master.

It’s the 1880s in the American west and a group of Mormon settlers is being chased further west, populations in towns along the trail wanting nothing to do with the settlers. Looking to build a community in California, a Mormon wagon train — led by fiery Elder Wiggs (Ward Bond) asks two horse traders, Travis (Ben Johnson) and Sandy (Harry Carey Jr.) to work as wagon masters, driving the train west. It takes some convincing, but the two amiable horse traders take the job on. They’re working against the seasonal clock though, the Mormons needing to reach their California valley and plant a harvest before winter settles in. Throw in some gunfighters, bandits and Indian attacks, and the trail is anything but easy.

Remembered with The Searchers and The Quiet Man as Ford’s best, the cavalry trilogy are Ford working at his absolute best. Even 3 Godfathers — released in 1948 — is a gem. Why then is ‘Wagon’ so generally forgotten? Well, the obvious answer is that there’s no big star, no John Wayne or Henry Fonda. Instead, Ford gives the spotlight to three instantly recognizable character actors who often played supporting parts in his movies; Ben Johnson, Harry Carey Jr. and Ward Bond. More on our stars later, but the key here is Ford turning into a simpler, more lyrical story. It plays a little like a serial, slightly disjointed at 86 minutes. The wagon train moving west is about as iconic as a western gets, and Ford doesn’t miss here.

How accurate are Ford’s westerns to the actual wild west American history? His films always looked authentic, always felt authentic. The moral of the story though is simple to describe. Maybe they’re not the most authentic or realistic. Instead, Ford presents the American west as it should have been. It’s good guys vs. bad guys, noble heroes vs. dastardly villains, beautiful vistas and damsels in distress. ‘Wagon’ has all of that, a stripped-down story of a wagon train. Filmed on location in Monument Valley, ‘Wagon’ is a black-and-white gem. The backdrops are simply stunning. With a film a little light on story, the locations (set to composer Richard Hageman’s score, a frequent Ford composer) end up stealing the show.

Coupled with the Monument Valley locations, the trio of character actors getting lead roles is what’s brought me back to ‘Wagon.’ A real-life cowboy before Ford discovered him, Johnson is at his laconic, scene-stealing best. When Johnson’s Travis is tearing across the Utah desert, that’s him doing the riding, not a stunt double. As his buddy Sandy, Carey Jr. is a naive but nice (somewhat dim-witted) cowboy. The duo actually starred the same year in Ford’s Rio Grande, playing characters with the same names. Is ‘Wagon’ an unofficial sequel of sorts? Throw in the always welcome Ward Bond as Elder, a converted Mormon with a hinted-at checkered past, and you’ve got a heck of a lead trio. No huge stars, no problem.

Starring as love interests are Joanne Dru and Kathleen O’Malley. Ford regulars Jane Darwell, Russell Simpson and Francis Ford (John’s older brother) playing supporting parts. The villains are the Cleggs gang, led by murdering patriarch Shiloh (Charles Kemper) and including supporting parts for Hank Worden, James Arness, Fred Libby and Mickey Simpson. Also look for Alan Mowbray as a snake oil salesman and Ruth Clifford as his dance hall girl partner.

As I’ve mentioned, ‘Wagon’ isn’t the most pointed story around. It drifts a little bit, and the ending is especially odd, as if Ford didn’t quite know how or when to end his movie. There is not a ton of action along the way, but you’re watching for the characters and the location backdrop. When the Cleggs are re-introduced in the second act, the introduction does provide some uncomfortable tension going forward. Still, even with its flaws, it’s still a pretty good western. A few too many songs too along the way, along with 2 different community line dances (usual Ford touches).

Not on the level of the cavalry trilogy or Ford’s other classics, but a must-watch for western and John Ford fans alike.

Wagon Master (1950): ***/****

Garden of Evil (1954)

Garden of EvilThe 1950s were an interesting time for the western genre. While it’s easy to generalize an entire genre over a decade, it’s pretty easy here. So many ’50s westerns were heavy, adult stories that too often played out like a soap opera on a horse. The stories brimmed with intensity, often some unseen but very evident sexual intensity, and covered everything from racism to betrayal to greed and everything in between. A prime example is 1954’s Garden of Evil, an interesting mix with some heavy flaws.

In a coastal town on the Pacific side of Mexico, a steamer drops anchor needing repairs. On-board are three men trying to reach California and its gold fields, including Hooker (Gary Cooper), Fiske (Richard Widmark) and Daly (Cameron Mitchell). With repairs expected to take weeks, the trio preps for a long wait…until a beautiful woman, Leah (Susan Hayward), rides into town asking for help. Her husband is trapped in a gold mine several days ride away, and she needs help. Leah offers a payday of $2,000 (with more to come) to whoever helps her. The trio of American agrees, and with a Mexican gunfighter, Vincente (Victor Manuel Mendoza) joining in, the small group rides out into vicious, violent frontier where no one is telling the whole truth.

I was kinda surprised when I stumbled across ‘Garden’ recently on Encore Westerns. Considering the solid casting and talent behind the camera, I’d really never heard much about it. From director Henry Hathaway, it’s a solid effort, pretty typical of so many 1950s westerns. It’s moody, dark and violent, but it’s more the build-up and tension than actual action in the end. Moody and foreboding is typically a good thing, but the payoff has to be worth it. Here? Eh, it’s okay. It’s a little slow at 100-minutes, a lot of vvvvery slow build-up.

Enough here to recommend though, starting with the obvious. That cast? Yeah, pretty acceptable. Cooper does what Cooper does best, the quiet, resolute hero. His part reminded me a lot of his part in another western released in 1954, Vera Cruz, in a story that’s not too far removed either. His dynamic with Widmark’s Fiske isn’t unlike the relationship between Cooper’s Ben Trane and Burt Lancaster’s Joe Erin. Here, the rivalry is mellowed some, but it’s a lot of fun to see the veteran Cooper and the up-and-coming Widmark go toe-to-toe, mostly as allies but always feeling the other one out and his true intentions. Throw in the always capable Susan Hayward, and you’ve got a heck of a lead trio.

It’s fun to see Hayward in the part because though she needs these men’s help, she’s no damsel in distress. She’s holding onto some secrets too that are slowly parceled out. As for the rest, Mitchell isn’t given much to do other than be shifty in a key supporting part. Mendoza is a quiet scene-stealer as Vincente. Hugh Marlowe is basically unrecognizable as John Fuller, Leah’s husband waiting to be rescued…but from what? His introduction should accelerate the momentum, but it doesn’t. That part of the story isn’t worth the build-up. Also look for young Rita Moreno — just 23 years old — as a singer in a saloon in the first 10 minutes of the movie.

Westerns filmed in Mexico always have a unique feel to them, from Vera Cruz to The Magnificent Seven, Major Dundee to Two Mules for Sister Sara and many others. ‘Garden’ is a visual stunner, shot on location in Mexico in and around Mexico City. These are locations unlike any western I’ve ever seen. Much of the movie is our crew riding through this landscape — which could be dull — but you go along for the ride with them and soak it all in.

High on foreboding and foreshadowing intensity through the first 70 minutes or so, the action kicks in over the last 30 minutes. There’s some solid action — gunplay and fast chases across the land — building up to a bit of a surprising ending. Not a complete downer, but pretty close! My only complaint is that the Apaches chasing our group is wearing blue pants with a red stripe, wearing mohawks and look they walked in off the set from the most recent remake of Last of the Mohicans. Still, a good western overall with some flaws but more than enough to recommend.

Garden of Evil (1954): ** 1/2 /****

 

The Rawhide Years (1956)

The Rawhide YearsFrom 1949 on, Tony Curtis was acting regularly in films, starting off with supporting roles but quickly climbing into key and leading parts. It was in the late 1950s he truly hit his stride. Lost amidst that stretch? A fun, little western from 1956 generally forgotten by fans, The Rawhide Years.

Working with another gambler on a riverboat, a young con man/gambler, Ben Matthews (Curtis), takes down one confident gambler after another, robbing them of their purse on the way to the town of Galena. One night, a powerful rancher is murdered on-board and all signs and clues point to Matthews as the murderer. On the run, Matthews has to head east to avoid a lynching party, leaving his fiance, dance hall singer/dancer, Zoe (Colleen Miller), behind with the promise of coming back for her when the smoke clears. Three years pass before Matthews can return. With the help of an outlaw, Harper (Arthur Kennedy), Matthews heads back to Galena to get back his girl and clear his name.

An interesting, goofy western, one I’d never heard of before stumbling across it on Encore Westerns recently. From director Rudolph Mate, ‘Years’ is fairly different from most 50s westerns, avoiding heavy adult drama and overdone twists and turns. It has the feel of a buddy western at times — with Curtis and Kennedy — with some touches left and right of a murder-mystery. It clocks in at a quick 85 minutes and never truly slows down. There are some really dumb plot twists and transitions, but we’re not talking The Searchers here. Not quite a B-western — there’s some budget — but in the neighborhood at least.

With so much going on, the thing that keeps ‘Years’ grounded is the casting of Tony Curtis and Ben Matthews as two very different but still like-minded fellas on the run. Curtis established again and again that he was an excellent dramatic actor, but when he took on lighter roles, his charming, incredibly likable side came to the forefront. Kennedy could steal a western with a snap with a villainous turn, so the fun here is figuring out exactly which side he’s on. Throw those two characters together, and you have a lot of fun. Never quite trusting each other fully, they still have each other’s back through some twisting and turning involving a gang of river thieves. Two very fun parts.

The romantic lead in a handful of 1950s westerns, Miller faded away from the limelight pretty quickly. She isn’t given much to do here other than sing (she gets three songs) and look pretty in dance hall girl outfits. William Demarest plays the well-respected brother of the murdered rancher, William Gargan plays the tough town marshal, Peter van Eyck plays the double-dealing saloon owner and Minor Watson is the rancher Matthews meets on-board the riverboat. Western fans will appreciate Robert J Wilke in a supporting part as a sneering, gun-toting villain.

Not gonna over-analyze or go into too much detail here. Nothing ground-breaking, but it’s a fun western with some cool leads. Worth checking out if you stumble across it.

The Rawhide Years (1956): ** 1/2 /****

Support Your Local Sheriff! (1969)

Support Your Local SheriffI’m a fan of the western genre who likes his westerns played straight. Sure, there are comedic westerns that work, flicks like Blazing Saddles and the Three Amigos to name a couple, but for the most part….meh. While not a classic, 1969’s Support Your Local Sheriff! has plenty of positives, especially for a western comedy.

Following a gold strike, the town of Calendar, Colorado sprouts up almost overnight. The town founders can barely keep up with the ever-growing town as prospectors, gamblers, drifters, troublemakers, bandits and cowboys rule the town. Then, one day an amiable drifter named Jason McCullough (James Garner) rides into town and takes the unwelcomed job as sheriff. He’s on his way to Australia but figures he could use the work in the meantime. His first job? Arrest Joe Danby (Bruce Dern) for murder, a shooting Jason saw happen in the saloon. Joe’s father, Pa Danby (Walter Brennan), rules over the territory though and rounds up all his family to go rescue his son. Jason has to start figuring what to do; keep up with the job or bail and head for Australia.

By 1969, the western genre had changed courtesy of the spaghetti western and released the same year, The Wild Bunch. Things were darker, bloodier, more violent. ‘Sheriff’ avoids those changes, going for a lighter tone in a story that loosely resembles the 1959 classic Rio Bravo (and also has touches of High Noon). A veteran of the genre, director Burt Kennedy handles things well, adding some excellent humorous touches along the way without being too heavy-handed. It’s got the look of a TV western, but it’s fun throughout, clocking in at 92-minutes with an episodic storyline. It was followed up two years later with a like-minded, sorta unofficial sequel, Support Your Local Gunfighter!

In the late 1960s, Garner was a frequent star in westerns, including Hour of the Gun and Duel at Diablo and even ventured into spaghetti westerns with 1971’s A Man Called Sledge. He’s perfect casting to play Jason, an amiable drifter with a somewhat cloudy past who is nonetheless lightning-fast with a gun but doesn’t like to use the gun if necessary. He stands by what’s right and has plenty of good ideas to keep folks on their toes. Garner plays the material straight, his charming on-screen presence underplaying scenes that could have been easily overplayed. He delivers lines with such ease, stealing his scenes with an impressive supporting cast. Garner manages to put a new, different and funny spin on that archetypal western character, the drifter riding along from town to town. Credit to Garner for an excellent leading role.

In the romantic lead department, Joan Hackett plays Prudy, the daughter of the town mayor (an excellent Harry Morgan). They’ve got some chemistry — Garner and Hackett — but the scenes feel a little forced, slowing down an otherwise fast-moving story. So often cast as a shifty-eyed, murdering back-stabber, Jack Elam steals the movie as Jake, Jason’s unlikely deputy. Quick with a gun and quick with a solid one-liner, Elam and Garner are perfect together, the duo returning two years later in ‘Gunfighter.’ Henry Jones, Willis Bouchey and Walter Burke round out the town board, the pleasantly corrupt folks running the town with Morgan’s Mayor Olly Perkins. Brennan looks to be having a ball as Old Man Danby, DernGene Evans and Dick Peabody as his dim-witted sons.

The problem too often with comedic westerns is that they’re simply trying too hard for the laughs. ‘Sheriff’ has those moments, a slapstick fist-fight in a muddy street notably early on. Its strongest moments are those instead that underplay the moment. Jason’s jail doesn’t have bars installed yet, but he convinces Dern’s Joe Danby to stay in the cell just the same. Sick of showdown after showdown with hired guns, Jason starts to throw rocks at a rival gunfighter. In the midst of a gunfight, Jason spectacularly finds a way to get across a street unscathed in a scene that always, always makes me laugh. The movie is full of those little moments that bring a smile to my face with ease.

A lot to like here, from the cast that looks to be having a ton of fun, notably Garner, Elam and Brennan with Dern stealing his scenes as well. The humor and comedy is perfectly played in this lighter-hearted western that manages to push a lot of the right buttons. I’m not a comedy western fan, but this one is a winner.

Support Your Local Sheriff! (1969): ***/****

Young Guns (1988)

Young GunsOne of the most iconic (maybe infamous is more apt a description), Billy the Kid is synonymous with the American west. His bloody, bullet-shattered life has been a frequent source for films, not too many of them actually any good. The odd exception? A 1988 western starring several up-and-coming stars and several established genre stars, it’s Young Guns.

A young gunfighter with a growing reputation, William H. Bonney (Emilio Estevez) is drifting along and on the run when he’s taken in by an English rancher, John Tunstall (Terence Stamp) in New Mexico. Tunstall has taken in a handful of young drifters who work his ranch and protect his cattle, but he finds himself facing the Santa Fe Ring, a group of cattle ranchers and businessmen trying to control the territory, including their leader, a cattleman named L.G. Murphy (Jack Palance). Things finally come to a head when Murphy-backed gunfighters callously gun down Tunstall. Bonney, also known as Billy the Kid, and Tunstall’s other men, the Regulators, are deputized to bring the men to justice. The Santa Fe Ring will not go quietly though, forcing Billy to take drastic action.

From The Left-Handed Gun to Chisum, Pat Garrett and Billy the Kid to The Outlaw, Billy the Kid has been the leading character in one western after another. The craziest thing? The 1980s western aimed at a younger audience…is one of the best! It’s probably right behind the 1970 John Wayne western Chisum. The history actually sticks pretty close to the facts of the Lincoln County War with only a few departures here and there. The look of the film feels spot-on (from the wardrobe to the New Mexico shooting locations), and the story doesn’t pull any punches, sticking to the dark, bloody source material.

Playing one of the American’s west most notable figures, Estevez is a scene-stealer as Billy the Kid. Past portrayals of Billy range from raging psychopath to petulant teenager, but Estevez finds a niche somewhere in between. His Billy is lightning quick with a gun, intelligent and always thinking…but he’s a little crazy, a little unhinged with an ever-growing ego. Estevez’s crazy, cackling laugh when Billy’s truly enjoying himself (usually after shooting someone) is downright creepy. But like so many western characters (anti-heroes or otherwise), Billy has a code he lives by, sticking with his fellow Regulators (his ‘Pals’) through — mostly — thick and thin. A solid, scene-stealing lead role.

The other Young Guns, the Regulators include Doc Scurlock (Kiefer Sutherland), Chavez y Chavez (Lou Diamond Phillips), Dick Brewer (Charlie Sheen), Dirty Steve (Dermot Mulroney) and Charlie Bowdre (Casey Siemaszko). We get little snippets of background as the story develops, but not much (Scurlock’s relationship with a young Chinese woman flops), so it would have been nice to learn a little more about the characters, all of them actual historical characters. With a touch of a younger, hipper Magnificent Seven though, the chemistry among Billy and the Regulators carries the movie as the Lincoln County War develops and grows bloodier and bloodier.

Hamming it up like only he can, Palance looks to be enjoying himself as the villainous Murphy. He’s not a developed, deep character. He’s just a sneering, intimidating villain so there’s that! Terry O’Quinn is excellent as Alex McSween, a lawyer who sides with the Regulators against the Santa Fe Ring. Western fans should also get a kick out of small parts for Brian Keith as a weathered bounty hunter and Patrick Wayne as Pat Garrett.

Clocking in at 106 minutes, ‘Guns’ follows an episodic story, bouncing along from one real-life incident to another. It makes for a somewhat slow, sometimes disjointed feel, but a quick gunfight always helps to get the blood and adrenaline flowing! Billy usually instigates the gunplay, all building to an impressive final shootout as the Regulators show down with the Santa Fe Ring and some Gatling Gun-toting cavalry. It’s a fun western with a cool cast and some always interesting history. It also produced an equally worthwhile sequel two years later. A surprisingly positive western that is definitely worth a watch.

Young Guns (1988): ***/****

The Good Guys and the Bad Guys (1969)

Good Guys and Bad GuysThe end of the wild west has been an ideal setting for some of the most memorable western films, notably 1969’s The Wild Bunch. It reflects the end of an era, cowboys, gunfighters and drifters squeezed out by the advances of technology and time. Inherently dark, right? Not much room for comedy, right? You’d think. Reflecting the changing times in the west, 1969’s The Good Guys and the Bad Guys tries to tread that fine line right down the middle.

In the town of Progress, Marshall Jim Flagg (Robert Mitchum) catches wind of reports that a gang of outlaws has been spotted in the area. He figures they’re hovering around waiting to hit a train carrying an immense amount of money, but Progress’ mayor (Martin Balsam) isn’t having it. To shut up his veteran marshall, Mayor Wilker puts Flagg out to pasture, retiring him. Flagg instead takes matters into his own hand. He tries to stop the gang himself, a group led by young gunfighter, Waco (David Carradine), but his plan goes off course almost immediately. Now, Flagg must work with an old rival and an infamous bank robber, John McKay (George Kennedy), to stop Waco from hitting the train in time.

Between 1966-1969, Mitchum made 8 movies (so much for slowing down later in your career). Six of the eight were westerns ranging from near classics, 1966’s El Dorado to lesser flicks, like Young Billy Young. Mitchum seemed to know what his fans wanted — or at least what he liked doing as an actor. Reading his biography, Mitchum enjoyed making westerns, so he stuck with the genre. Why fix something that isn’t broken? From director Burt Kennedy, ‘Good Guys’ doesn’t rewrite the genre, but it’s pretty fun, able to inject some humor into a buddy story dynamic about the end of the wild west.

As the rivals who aren’t so different, Mitchum and Kennedy bring the movie up a notch from what would have been a much lesser western without strong actors in these roles. It’s the early 1900s and for better or worse, the duo has ‘outlived their usefulness’ as technology and the changing times have pushed gun-toting peace officers and bank robbers out the door. After they return to town, the two have a great scene as they discuss what used to be and how things aren’t like they used to be. Flagg’s been relieved of his duties and McKay has been left behind by his gang. So with nothing else to do, the former marshal and the former outlaw say ‘what the hell?’ and team up.

I’ll recommend this movie mostly because of Mitchum, a long-time movie star, and Kennedy, who was still relatively new to movies after spending years in guest starring spots on TV shows. As always, Mitchum has this ease of making characters likable, and it’s nice to see him in a good guy role. He was known for playing roguish brutes who were ultimately good, but Flagg is good through and through, even getting his own theme song. Kennedy gets some good laughs as McKay and has some great chemistry with Mitchum in their scenes together.

Balsam is a scene-stealer as Mayor Wilker, a local politician who has his eyes set on higher levels of government….while also seducing the married Tina Louise. Carradine isn’t given much to do (and no background), but he’s an impressive screen presence, even this young. John Davis Chandler is the only member of his gang to stand out as the unhinged Deuce. Douglas Fowley is excellent as Grundy, an old mountain man who sides with Flagg in trouble. Also look for Lois Nettleton, John Carradine, an uncredited Buddy Hackett, Marie Windsor and Dick Peabody.

The movie is at its best when dealing with Flagg and McKay in serious fashion. I’ve never been a fan of comedic westerns to begin with, and most of the attempts at humor here fall short. Balsam gets some genuine laughs, but the physical comedy comes up empty. The action is solid, especially the finale over the last 25 minutes or so as Flagg, McKay, Waco and his gang and Mayor Wilker and the entire town of Progress duke it out for control of the train. There are some pretty cool tracking shots — must have used a helicopter — showing the mass chaos of the chase.

Absolutely nothing spectacular about this one –check that, the New Mexico locations are beautiful– but as you’ve most likely figured out, a western has to be bottom of the barrel for me not to find something redeeming about it. Watch this one for typically strong performances from Robert Mitchum and George Kennedy and a great supporting part for Martin Balsam.

The Good Guys and the Bad Guys (1969): ** 1/2 /****