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Ill Manor. Gunfighters of Casa Grande is directed by Roy Rowland and written by Clarke Reynolds and Borden and Patricia Chase. It stars Alex Nicol, Jorge Mistral, Dick Bentley, Steve Rowland, Phil Posner, Mercedes Alonso, Diana Lorys, María Granada. Music is by Johnny Douglas and cinematography by José F. Aguayo and Manuel MerinoJose. After the war between The States, when the Eastern part of the United States was beef starved and inflated prices were paid at Northern railroad points ... a border raider evolved a plan that would lead to the greatest stolen cattle herd and pay off in the history of the West. Out of MGM, this Spanish/American Western was filmed in Mexico and is a CinemaScope/Metrocolor production. What with that value and the opening salvo as written above, one wouldn't be unfair to expect a good movie. Sadly this isn't the case. The whole stolen herd thing is a bum steer, the narrative a muddled mess that ultimately loses focus on story telling sense. On breaking it down we have an uneasy group dynamic, where a handful of sharp shooting men - led by a devious tyrant wannabe called Joe Daylight (Nicol) - end up getting women trouble whilst dealing with bandido baddies. It's all on testosterone overdrive, complete with what can only be described as a pissing contest, with the acting close to being as poor as the choppy story. The musical score is schizophrenic, with some of it sounding oddly like a play on The White Cliffs of Dover and comedy fare that wouldn't be out of place in a Cary Grant screwball piece. Locations are nice, but the colour mix is way too bright, but at least we have two entries in the Victor Mature and James Caan look a like competition... Some competent action scenes, such as the finale and a defence of Casa Grande (the ranch) stop it being a complete dead loss, but it's not one that Western fans should seek out as a matter of need. 3/10
Will Penny, an aging cowpoke, takes a job on a ranch which requires him to ride the line of the property looking for trespassers or, worse, squatters. He finds that his cabin in the high mountains has been appropriated by a woman whose guide to Oregon has deserted her and her son. Too ashamed to kick mother and child out just as the bitter winter of the mountains sets in, he agrees to share the cabin until the spring thaw. But it isn't just the snow that slowly thaws; the lonely man and woman soon forget their mutual hostility and start developing a deep love for one another.
A weary gunfighter attempts to settle down with a homestead family, but a smouldering settler and rancher conflict forces him to act.
An intimate story of the enduring bond of friendship between two hard-living men, set against a sweeping backdrop: the American West, post-World War II, in its twilight. Pete and Big Boy are masters of the prairie, but ultimately face trickier terrain: the human heart.
The brother (House Peters Jr.) of rancher Bill Martin (Bill Elliott) is killed in a stampede started by cattleman. Bill returns to the Fargo country to take his brother's place and is welcomed by law-abiding cattleman MacKenzie (Jack Ingram)) and his daughter Kathy (Phyllis Coates). The leader of the ruthless cattle interests are townsman Austin (Arthur Space) and his henchmen Red (Myron Healey), Link (Robert J. Wilke) and Albord (Terry Frost). Bill has the idea of putting up barbed wire to keep the herds from been driven over the land cultivated by the farmers. He, aided by Tad Sloan (Fuzzy Knight), produces the wire by make-shift methods, but it proves effective. The cattleman charge in court that the wire is dangerous to their herds but lose the case. Austin orders his men to seize Bill, bale him in strands of the wire, and throw him on the stage of the town hall during a fall festival. Bill doesn't take kindly to this and it precipitates open war.
Young Travis Coates is left to take care of the family ranch with his mother and younger brother while his father goes off on a cattle drive in the 1860s. When a yellow mongrel comes for an uninvited stay with the family, Travis reluctantly adopts the dog.
Running from the law after a bank robbery in Mexico, Dad Longworth finds an opportunity to take the stolen gold and leave his partner Rio to be captured. Years later, Rio escapes from the prison where he has been since, and hunts down Dad for revenge. Dad is now a respectable sheriff in California, and has been living in fear of Rio's return.
Will Lockhart arrives in Coronado, an isolated town in New Mexico, in search of someone who sells rifles to the Apache tribe, finding himself unwillingly drawn into the convoluted life of a local ranching family whose members seem to have a lot to hide.
After escaping from jail, outlaw Wes McQueen is convinced by his old partner in crime to do one last heist.
After his cattle rancher boss dies, right-hand man Pike is given the job of returning $86,000 to some families who live across the border in Sonora, Mexico. Honest Pike is joined on the trip through the wilderness by a dishonest gambler named Tyree.
A report reaches the US Army Cavalry that the Apache leader Ulzana has left his reservation with a band of followers. A compassionate young officer, Lieutenant DeBuin, is given a small company to find him and bring him back; accompanying the troop is McIntosh, an experienced scout, and Ke-Ni-Tay, an Apache guide. Ulzana massacres, rapes and loots across the countryside; and as DeBuin encounters the remains of his victims, he is compelled to learn from McIntosh and to confront his own naivity and hidden prejudices.
During a shootout in a saloon, Sheriff Hunt injures a suspicious stranger. The doctor's assistant, wife of the local foreman, tends to him in prison. That night, the town is attacked and they both disappear—only the arrow of a cannibal tribe is found. Hunt and a few of his men go in search of the prisoner and the foreman's wife.