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 /****

 

Rocky Mountain (1950)

rockymountain1950One of the most bankable stars of the 1930s and 1940s, Errol Flynn had seen his star fade a bit by 1950. His partying lifestyle had started to catch up to him, and his films weren’t a sure thing anymore at the box office. That said…he was still the absolute coolest. In 1950, he starred in a western that’s been generally forgotten in the years since. Why is that? I’m drawing a blank. It’s one of my favorites. Here’s 1950’s Rocky Mountain.

It’s March 1865 and the last days of the Confederacy are on the horizon. Riding west for California, Captain Rafe Barlow (Flynn) and a small 7-man patrol have been tasked with a desperate mission, an almost suicidal objective of starting a new front in California. His plan takes a hit though when Barstow’s squad fights off a Shoshone attack and rescues a beautiful young woman, Johanna (Patrice Wymore), from a wrecked stagecoach. On their way to meet the hopeful leader of the uprising, Cole Smith (Howard Petrie), Barstow must now make a decision. Johanna’s fiance is a Union officer and will no doubt come looking for her. Barlow’s squad is stuck in the middle, forced to continue the mission or save Johanna, worrying about Shoshone war parties and Union patrols all around them and closing in.

I stumbled across this western from director William Keighley (and a story by Alan LeMay, who also wrote The Searchers) years ago via Netflix, then rewatching it recently off of Turner Classic Movies. I loved it both times, maybe even more so the second time around. ‘Rocky’ clocks in at just 83 minutes and pretty seamlessly blends the Civil War and western story.

The coolest part here is the filming locations. It’s filmed in black and white. Would it have been an interesting movie to watch in color? Yeah, you bet, 1948’s She Wore a Yellow Ribbon coming to mind. But the rocky, barren desert is aided by the black and white filming, giving a starkness to the setting that color might have canceled out. He films on location in New Mexico, using some familiar locations including some that fans of John Ford’s Fort Apache will notice (more on that later). Also, ‘Rocky’ borrows an instantly recognizable musical score from composer Max Steiner, using his They Died With Their Boots On theme. Give it a listen HERE starting at a :49.

What impressed me here was ‘Rocky’s’ ability to get ahead of the curve with westerns of the time. The late 1940s and early 1950s were an important transition for the genre. It wasn’t so much the white-hat good guys vs. the black-hat bad guys. Most characters had flaws, even inner demons they had to deal with. ‘Rocky’ isn’t quite there….but it’s getting there. The Union and Confederacy teaming up was used several times after (Escape from Fort Bravo, Major Dundee), but this is one of the first I can come up with. It’s the little things here. The men have beards, stubble, and look like they’ve been sweating in the desert heat. At least some effort was made to make it seem authentic. I give points just for the attempt. When that attempt works? Win-win for the viewer.

Starring in his last western, Flynn makes the most of it. He just looks comfortable in the part. His Capt. Barstow is a strong leader, liked and respected by his men, but he also has a moral compass that won’t let him turn his back on what’s right and wrong. The only slow moments here are his not-so-surprising romance with Wymore’s Johanna. She’s engaged to Union cavalry officer, Lt. Rickey (Scott Forbes), but can’t help be drawn to the very attractive Capt. Barstow. Playing the sneaky, sniveling Cole Smith, Petrie is a background player, but his character plays a key role late. Also look for western vet and character actor Chubby Johnson as Craigie, the stagecoach driver with no allegiances to North or South, just himself, bringing some homespun charm to this small but funny part.

What drew me to the movie — right up there with Errol Flynn — was the story that sounded like such an obvious forerunner to movies like Escape from Fort Bravo and Major Dundee. Nowhere was that more evident than Flynn’s small squad of Confederate misfits. Not any huge names here, but western fans will get a kick out of the group. It includes Guinn Williams as Pap, the old man of the group, Dickie Jones as Jimmy, the soft-spoken youngster who fights like mad while also looking out for his dog, Slim Pickens (in his first credited role) as Plank, a plainsman who served time in prison, Robert Henry as Kip, a young man and heir to a plantation back home, Sheb Wooley as Rawlins, the steamboat man with a mean streak, Peter Coe as Pierre, the Frenchman from Louisiana, and Rush Williams as Jonas, the plainsman and dead shot with a rifle. Not a weak link in the bunch, but Jones especially stands out, including one scene he has with Wymore discussing his brief encounter with Robert E. Lee before Gettysburg. Just seven solid supporting parts for Flynn.

It’s the rare western I can’t find something positive to talk about. And about an hour into ‘Rocky’ I was liking it a lot if not loving it. And then there’s the last 25 minutes. Somewhat short on action to this point (not a huge issue), the finale has Barstow and his squad making a dangerous decision separate from the mission. No spoilers here, but my goodness, the ending certainly resonates, catching me off-guard on both viewings. Flynn addresses his men after a chase, stating ‘They’ve seen our backs, let’s show them our fronts.’ It’s a line that could sound cheesy, but with Flynn delivering the line, it works in a big way. The finale was even filmed in the same canyon as the ending to John Ford’s Fort Apache. I loved the honesty of the ending. LOVED it. It takes a pretty good western and makes it a near classic.

Can’t recommend this one enough. Definitely worth tracking down.

 

Rocky Mountain (1950): *** 1/2 /****

Two Mules for Sister Sara (1970)

two_mules_for_sister_sara_posterFollowing his breakout success in Sergio Leone’s iconic spaghetti western trilogy – the ‘Dollars’ trilogy – Clint Eastwood returned to the states a marketable star. He wanted to distance himself some from the western genre, but still made a couple entries over the coming years. The best? A spaghetti-ish western with director Don Siegel, 1970’s Two Mules for Sister Sara.

It’s the years following the Civil War, and an American mercenary, Hogan (Eastwood), is working with the Juaristas as Mexican forces fight the French government. On the trail, he rescues a woman who is about to be raped by 3 drifters, killing her 3 attackers. Hogan is in for a surprise. The woman is a nun, Sister Sara (Shirley MacLaine), similarly riding south who is also working with the Juaristas. Knowing Sister Sara is seriously at risk traveling on her own, Hogan says she can travel with him as they ride through French patrols, bandits and Indian attacks.

Nothing too crazy here, just a good western story that leans heavily on its star, MacLaine and Eastwood, to do the heavy lifting. It’s an episodic story – clocking in under 2 hours – without any huge momentum. The focus is on the star duo who are working off a Budd Boetticher story (Boetticher apparently hated the MacLaine casting and the final product as a whole). It was originally intended for Deborah Kerr and Robert Mitchum (like Heaven Knows, Mr. Allison) but was reworked and re-cast over the years for this duo instead. Apparently filming was troubled to say the least with some big personalities, but it doesn’t show in the end.

If they didn’t get along off-screen, MacLaine and Eastwood must have been saving their chemistry for filming. Eastwood’s Hogan is a spin on his familiar anti-hero gunfighter. He’s chomping cigars, gunning down bandits and just for good measure, he’s an explosives specialist (favoring dynamite). Thrust into a protector role, Eastwood is a quite scene-stealer to MacLaine’s religious antics. Her Sister Sara often repeats “God will provide…” all the while ignoring the constant dangers that could arise on the trail. They form a heck of a duo in the process.

No other huge supporting parts here to round out the cast. Manolo Fabregas is the most visible as Beltran, the leader of the Mexican revolutionary forces who are working with Hogan to take out a heavily-guarded French garrison. Western fans will recognize a couple faces here and there, but the focus is on MacLaine and Eastwood and their revolutionary adventures.

A lot to like here, especially filming on-location in Mexico. You feel like you’re there in 1860s Mexico on the dusty trails, the adobe-lined streets, the rock-capped mountains, and the ancient ruins. Throw in a memorable score from spaghetti western score extraordinaire Ennio Morricone – listen HERE – and you’ve got some excellent building blocks. It all fits together nicely. I defy you not to whistle the main Sister Sara theme for days after watching this western. Not much in the way of action here, but there are some pretty cool set pieces sprinkled throughout the film. Hogan taking out Sara’s attackers, a subtle but well-done chase with Sara, Hogan and French cavalry, and a later sabotage mission on a train trestle are all nicely handled. The final attack on the French garrison is nicely done and features some surprisingly gory action. And that twist in the last 25 minutes…it’s a gem but no spoilers here.

It was an interesting time in Mexican history as French invaders took over the country and the government. It’s provided some ripe pickings for westerns, including Vera Cruz, Major Dundee, The Undefeated and some others I’m no doubt forgetting. As for ‘Sister Sara,’ it’s well worth a watch.

Two Mules for Sister Sara (1970): ***/****