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John Coventry the lonely one, began and ended with a gun. Quantez is directed by Harry Keller and written by R. Wright Campbell and Anne Edwards. It stars Fred MacMurray, Dorothy Malone, James Barton, Sydney Chaplin, John Gavin and John Larch. A CinemaScope production in Eastman Color, with music scored by Herman Stein (supervision Joseph Gershenson) and cinematography by Carl E. Guthrie. A gang of robbers hole up for the night in the ghost town of Quantez. But what is the greater threat to their well being? The Indians out in the hills? Or each other? Maybe you get to be a killer? But you will be sick to the stomach because of it. A smartly written and acted psychological Western, Quantez deserves to be better known and appraised. This is all about characterisations and the hot bed situation they dwell within, the emphasis on dialogue and interactions as suspicion, passions, racism and treachery show their hands. Standard characters do apply, the girl with a past she's not proud of, the loose cannon, the greenhorn kid, the duplicitous one and the guy with a secret tucked away. There's even a late addition of a wandering minstrel (Barton), splendidly calling himself Puritan. These characters are well blended for narrative strength by Keller, the director keeping things on the slow burn, an impending sense of implosion permeating proceedings. Technical aspects are smart, the exterior filming, when the film comes out of the claustrophobic confines of the ghost town, is most pleasing, while the Eastman Color is gorgeous and never garish. Cast score well, notably a stubble and grungy MacMurray, a pretty and emotionally fragile Malone and Larch, who is unstable and enjoying his chance for villainy. Except for a fist fight, an opening pursuit and the odd moment of macho posturing, the action is saved for the excellent last quarter, so first time viewers after a high energy Oater are advised that this is not the film for them. But for those who like some psychological discord in their Westerns, where plot dynamics are simmering until the denouement, then seek this out if you can. 8/10
Having spent the last 10 years fighting injustice and cruelty, Alejandro de la Vega is now facing his greatest challenge: his loving wife Elena has thrown him out of the house! Elena has filed for divorce and found comfort in the arms of Count Armand, a dashing French aristocrat. But Alejandro knows something she doesn't: Armand is the evil mastermind behind a terrorist plot to destroy the United States. And so, with his marriage and the county's future at stake, it's up to Zorro to save two unions before it's too late.
Set in the late 19th century. When a ruthless robber baron takes away everything they cherish, a rough-and-tumble, idealistic peasant and a sophisticated heiress embark on a quest for justice, vengeance…and a few good heists.
After the train station clerk is assaulted and left bound and gagged, then the departing train and its passengers robbed, a posse goes in hot pursuit of the fleeing bandits.
A posse discovers a trio of men they suspect of murder and cow theft and are split between handing them over to the law or lynching them on the spot.
A sheriff and his posse set out to catch a murderer, but their mission proves more dangerous than anyone suspected after they become stranded in the desert and attacked by Apaches.
In this highly regarded Mexican war film, peasant Demetrio Macias leads a band of outlaws in a revolt against the Federales during the Mexican Revolution.
Around the film hang fascinating questions about border politics, which I’ll touch on in an introduction before the screening. One of Eugene Buck’s motivations for making the film may have been his rough cross-examination during his kidnappers’ first trials, in October 1913, when defense attorneys cast him as a confused and unreliable witness against idealistic freedom fighters. On film he could reproduce the pursuit, the shootouts, his kidnapping, and his friend’s murder just as he had testified. Reenacting the crime on film may have been the best revenge—and a way to honor the sacrifice of Deputy Ortiz, a twenty-year police veteran and, for the era, a rare Mexican American lawman.
A man thought-dead comes home to find that his wife has sold their ranch and married a Mexican revolutionary.
When rancher and single mother of two Maggie Gilkeson sees her teenage daughter, Lily, kidnapped by Apache rebels, she reluctantly accepts the help of her estranged father, Samuel, in tracking down the kidnappers. Along the way, the two must learn to reconcile the past and work together if they are going to have any hope of getting Lily back before she is taken over the border and forced to become a prostitute.
A man searching for a stolen army payroll is joined by several men after the reward money. One of the pursuers, after killing a ranch foreman, elopes with the ranchers' daughter. Enraged at the shooting of his foreman and convinced that his daughter was kidnapped, the rancher leads a posse after his daughter. When Apaches attack the thieves and their pursuers, the rancher's posse is forced to side with his daughter's new husband and his friends.
In this third remake of legendary Japanese director Akira Kurosawa's hugely influential The Seven Samurai, the seven gunslingers (George Kennedy, Michael Ansara, Joe Don Baker, Bernie Casey, Monte Markham, Fernando Rey and Reni Santoni) liberate Mexican political prisoners, train them as fighters and assist them in a desperate attack on a Mexican fortress in an attempt to free a revolutionary leader.