FILM REVIEW OF ''SOL MADRID" (1968)

You've never seen actor David McCallum play a more anti-heroic character than in director Brian G. Hutton's above-average narcotics thriller "Sol Madrid." McCallum headlines the cast as the eponymous protagonist who works undercover for Interpol and lives to bust illegal drug dealers. Indeed, he believes that he shouldn't have to abide by the rules because the bad guys don't. The biggest heroin dealer of them all here is Emil Dietrich. "Dirty Dozen" psycho Telly Savalas is charming as the cigarette-smoking villain who lives high, wide, and handsome in his estate in sunny Acapulco, Mexico. Initially, our hero doesn't have his sights set on the urbane Dietrich. He learns from his Interpol superior that the mistress of a Mafioso kingpin, Dano Villanova (Rip Torn of "Men in Black"), has left him. Moreover, the man with a computerized mind who knows everything about the Mafia's accounts, Harry Mitchell (Pat Hingle of "Hang'em High") has fled from the Mafia, too. At first, Sol's mission is to find Mitchell and persuade him to testify against the Mafia. Stacey Woodward (Stella Stevens of "The Ballad of Cable Hogue"), joined Mitchell for $250-thousand dollars. but she didn't accompnay him to Mexico. Sol Madrid breaks into Woodward's bedroom, surprises her, confiscates her loot, and they head off to see Dietrich and his guest Mitchell. Madrid works his way into Dietrich's confidence when he manages to smuggle heroin into California by means of an oil pipeline. The Interpol agent reels in Dietrich afterward for $25 million. Meanwhile, another Interpol agent working undercover in Acapulco is a smiling dude known as Jalisco (Ricardo Montalban of "Star Trek: The Wrath of Khan"), and he works as a cabbie when he isn't crusading for law and order. Eventually, Madrid is able to persuade Dietrich to sell him heroin on the premises of his house, something that Dietrich had never done before. During the big bust scene, our hero gets into a fight with the villain, and you can guess who survives the confrontation. Sol Madrid emerges as one of those cops who doesn't take prisoners and he isn't afraid of anything. Eventually, he is able to rescue Stacey from the mitts of the mafia. Once the evil Villanova ferrets Stacey out, he incarcerates her in a cabin and gets her hooked on heroin.

What sets "Sol Madrid" (*** OUT OF ****) apart from all of McCallum's other films is the savagery of his character. He exposes a double-agent in one scene and shoots the man at point blank range without a qualm and lets him fall down and die. Later, he tangles with a well-dressed Mafioso and drowns the dastard face down in a muddy pool in Mexico. I don't think that I've ever seen David McCallum play a character as brutal of Sol Madrid, and he displays no remorse for his murderous behavior. "Sol Madrid" was released by Metro-Goldwyn-Mayer a year before Hutton made history with Richard Burton and Clint Eastwood in the explosive World War II thriller "Where Eagles Dare." Hutton's next film was "Kelly's Heroes. If you want to see David McCallum as you have never seen him before, check out "Sol Madrid."

FILM REVIEW OF "THE HATEFUL EIGHT" (2015)

The world emerges as a hostile, inhospitable setting in writer & director Quentin Tarantino’s second western “The Hateful Eight” (**** OUT OF ****), and everybody but the innocent bystanders winds up getting what they deserve.  Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Tim Roth, Michael Madsen, Walton Goggins, and Channing Tatum seem never at a loss for words in this consistently entertaining but abrasively self-indulgent horse opera.  Like a typical Tarantino tale, “The Hateful Eight” wallows in blood-splattered carnage, punctuated by gunfire, and intensified by politically incorrect subject matter laden with scatological, R-rated profanity.  Set in a sprawling mosaic of snow-swept Wyoming mountains, this suspenseful bounty hunters versus outlaws western  methodically unfolds like a claustrophobic but chatty Agatha Christie drawing-room murder-mystery.  Predictably, Tarantino shoots the works with both surprises and shocks that keep this static outing interesting as well as melodramatic.  A suspicious bounty hunter escorts a homicidal dame with a $10-thousand dollar reward on her head for a date with the gallows.  During his journey, the bounty hunter encounters various gunmen and takes refuge with them in a remote stagecoach relay station during a freezing blizzard.  The predominantly all-male cast is nothing short of exceptional, but this doesn’t eclipse Jennifer Jason Leigh’s performance as a slimy villain.  Now, if you’re not an ardent connoisseur of all things Tarantino, you may find yourself exiting the premises before the film reaches its midpoint. 

Scruffy, loud-mouthed, bounty hunter John Ruth (Kurt Russell of “Tombstone”) has chartered a private stagecoach to transport his prisoner, Daisy Domergue (Jennifer Jason Leigh of “Backdraft”), to the town of Red Rock.  He is taking Daisy in alive to watch her hang for her crimes.  Unlike most bounty hunters, Ruth prefers to show up with his prisoners alive rather than dead.  Along the trail, Ruth runs into another bounty hunter, Major Marquis Warren (Samuel L. Jackson of “Pulp Fiction”), who is smoking his pipe perched atop a stack of three frozen corpses.  Major Warren gunned down these three guys for the collective $8-thousand dollar bounty on their heads.  Unlike Ruth, Warren takes no chances and shows up with his desperadoes dead rather than alive.  Major Warren explains that his horse fell dead during the trip across the mountains, and he inquires if Ruth will give him a lift.  Reluctantly, Ruth allows Warren to climb aboard.  Before Warren can enter the stagecoach, Ruth orders him to surrender his two six-shooters to the coachman, O.B Jackson (James Parks of “Machete”), for safekeeping.  Later, another man stranded on foot, Chris Mannix (Walton Goggins of “Cowboys & Aliens”), who claims to be the sheriff of Red Rock flags them down.  When Ruth demands to see his badge, Mannix explains that he was riding to Red Rock when his horse stepped into a gopher hole and he had to shoot it.  Initially, Ruth refuses to believe Mannix. Mannix explains that Red Rock recently lost their sheriff and that he is replacing him.  Since he hasn’t gotten to Red Rock yet, he doesn’t have a badge.  Furthermore, Mannix argues that Warren and the coach driver will serve as witnesses to testify against Ruth if Mannix is found frozen dead in the snow because Ruth wouldn’t oblige him. Glumly, Ruth lets Mannix join them.  Before he lets Mannix aboard, Ruth strikes up an uneasy alliance with Warren.  Ruth lets Warren reclaim his revolvers and promises to protect him if Warren will watch over him, too.  An infamous Confederate marauder, Mannix is wary of Major Warren who is an ex-Union cavalryman with his own notorious reputation.  According to Mannix, Warren burned down a Confederate prison camp to escape from it.  During the conflagration, more than forty young Confederate recruits died.  CSA President Jefferson Davis put a bounty on Warren’s head and Federal authorities drummed him out of the cavalry. 

Basically, the three men aboard the stagecoach remain deeply suspicious about each other despite any deals they may have forged.  Eventually, the stagecoach arrives at a lonely relay station called Minnie Haberdashery where six horse stagecoach teams are changed while the passengers rest and refresh themselves.  Warren is surprised to learn that Minnie and her family not only have left the relay station in the hands of a Mexican, Bob (Demián Bichir of “Savages”), but also have gone to visit friends.  Meantime, Ruth ushers Daisy inside at gunpoint and interrogates the three guests about their identities and destinations.  He learns that an Englishman, Oswaldo Mobray (Tim Roth of “Reservoir Dogs”), is a hangman in route to Red Rock.  The other man, a drover back from a cattle drive, Joe Gage (Michael Madsen of “Die Another Day”), is heading to see his mother on the far side of Red Rock.  Ruth disarms both men, dismantles their revolvers, and sends O.B. into the freezing storm to dump their firearms in the nearby outhouse.  The other guest, elderly Confederate General Sandy Smithers (Bruce Dern of “The Cowboys”), doesn’t own a gun.  Nevertheless, Ruth doesn’t trust any of them, and he keeps Daisy attached to a chain around his wrist.  Meantime, Warren doesn’t believe Mexican Bob’s story about Minnie, but he doesn’t have enough evidence to call him a liar.  Unquestionably, the scenes in the stagecoach station constitute the best part of this western.

 

Kurt Russell blusters through his role as John Ruth, giving a variation on the John Wayne performance that he gave for John Carpenter in “Big Trouble in Little China.”  He plays a character who is far friendlier than the Stuntman Mike villain he played in Tarantino’s “Death Proof” (1986). Samuel L. Jackson is at the top of his game as the controversial Major Warren.  He dresses like the Lee Van Cleef character Colonel Douglas Mortimer did in Sergio Leone’s second Clint Eastwood movie “For a Few Dollars More.”  Channing Tatum appears near the end as a French pistolero who keeps the bullet loops on his holstered pair of revolvers stuffed with lead.  The character that Jennifer Jason Leigh plays hasn’t a shred of decency, and John Ruth doesn’t treat her with diplomacy.  At one point, he smashes out her front teeth after she gets him riled. “The Hateful Eight” clocks in at 168 minutes.  Essentially, Tarantino takes his own sweet time setting up the situation and developing the characters.  He gives each of the eight a chance to showcase themselves once the blizzard confines everybody to the stagecoach station with nowhere else to go.  During the second half, we learn a lot about these characters.  Whether they are wounded or killed, you probably won’t shed a tear for any of them.  If you’re looking for role models, you won’t find them.  These guys and especially the girl are all dastards. Nevertheless, die-hard Tarantino fans will find it in their hearts to forgive him for the elongated running time, applaud his spontaneous, slam-bang violence, and chuckle at his ghoulish gallery of gruesome characters.  Indeed, Tarantino’s eighth feature film lives up to its title, and some parts of it are more hateful than other parts.  Compared with Tarantino’s previous seven epics, this gritty, gimlet-eyed western resembles “Reservoir Dogs” with its Spartan number of settings.  Major Warren’s story about General Smithers’ son sounds like a reversal of what happened to Marsellus Wallace in “Pulp Fiction.” This scene is probably going to make some southern males cringe for its “Deliverance” subject matter. In fact, the director has said that not only he was influenced by Sergio Corbucci’s Spaghetti westerns, but also the cult science fiction horror movie “The Thing” that starred Kurt Russell.  Altogether “The Hateful Eight” qualifies as Tarantino’s best since “Jackie Brown.”

FILM REVIEW OF ''RIDER ON A DEAD HORSE" (1962)

Herbert L. Strock directed enough episodes of television shows like “Cheyenne,” “Sugarfoot,” “Bonanza,” “Maverick,” “Colt. 45,” and “Bronco” to know his way around westerns.  The low-budget oater “Rider on a Dead Horse,” (*** OUT OF ****) starring John Vivyan, Bruce Gordon, Kevin Hagen, and Lisa Lu, is an ironic, entertaining, black & white sagebrusher about avaricious prospectors, savage Apaches, a cunning bounty hunter, and a desperate Asian woman who wants to go to San Francisco.  Some critics have compared it with a Spaghetti western because the villain shoots first and doesn’t ask questions afterwards.  One of characters is a bounty hunter without compunctions.  The action occurs largely in stark, rugged, inhospitable terrain like Euro-westerns in Spain, and greed is a pervasive theme as it is in Italian westerns.  The title tune is rather lame.  Frank V. Phillips’ cinematography is crisp, clear, and evocative.  Like Strock, Phillips confined himself primarily to television shows for the most part of his career.  He lensed his share of western television shows, too.  Lucy Lu plays an English speaking girl from Canton who claims that he knows how to handle men.  She has been living out west for three years.  A current of racism courses through this western.

The two gritty prospectors—Barney Senn (Bruce Gordon of “The Buccaneer”) and Adam Hayden (John Vivyan of “Imitation of Life”)--are pretty handy with their six-shooters. Barney is particularly good with his revolver.  After he pays off their African-American partner, Sam Taylor (Charles Lampkin of “Twilight of Honor”), Barney brandishes his Colt’s revolver and shoots Sam in the back without a qualm as the unsuspecting African-American rides away with two bags of gold.  Barney doesn’t display a shred of remorse for murdering poor old Sam in cold blood.  This western draws its grim title from its title sequence that depicts Sam’s corpse clinging to its horse as the steed gallops throughout the credits before gravity detaches Sam’s body from the animal.  Afterward, a cautious Hayden inquires if he is next.  Barney seats his six-gun in his holster and reminds Hayden that he would be lost without Hayden.  “Why I couldn’t go ten miles in this broken country without getting lost.”  They carry out forty pounds of gold a piece.  Hayden and Barney break camp.  Hayden explains that Apaches have been watching them since they came out to prospect for gold.  He points out smoke signals rising from mountain tops between them.  Hayden recommends that they strip everything that they can live without to stay ahead of the savages.  They unload their rifles and smash them.  I didn’t think that was very smart.  Not only do these hombres shatter their long guns, but they also turn their horses loose and set off on foot to the town of Lost River.  

Later, greed gets the best of them during their journey to evade the Apaches.  They tangle with each other in a tough fistfight when they spot Sam’s horse.  The fistfight is imaginatively staged with perspectives from each man’s point of view during the slugfest.  After their fight, Barney wings Hayden, leaves him for dead, and rides off to town.  A thirsty, woebegone Hayden stumbles through the desert and encounters a friendly Asian girl, Ming (Lucy Lu of “One-Eyed Jacks”), at a railway work camp.  She is an entertainer.  She nurses him back to health because Hayden assures her that he has money.  Ming wants half of Hayden’s money.  She tells him that her name means ‘Perfect Flower.’  Meantime, murderous Barney cuts a deal with Jake Fry (Kevin Hagen of “Gunsmoke in Tucson”), a bounty hunter of sorts, to help him capture Hayden and see him strung up.  Barney double-crosses Hayden, frames him for Sam’s death, and tells Jake that Hayden has a thousand dollars on his head.  Jake decides to set out in pursuit of Hayden.  Hayden tells Ming, “A man with a gun is all the law he needs.”  Reluctantly, Hayden agrees to buy Ming a ticket for San Francisco.  What sets Ming apart from most women in westerns is her ability to stand up for herself and take what she wants.   Before Ming and Hayden set off for Lost River, Hayden demands that she return his firearm.  What Hayden doesn’t know is that Ming has removed the bullets from his gun.

As they are trudging through desert, Hayden sneaks up on Jake and gets the drop on him.  Unfortunately, Hayden discovers that he is packing a pistol without bullets, and Jake—“just a business man”—takes Hayden into custody.  Ming knows that money is the only thing that “impresses” Jake.  Hayden explains that they extracted $200-thousand out of their gold mine and Barney back-shot Sam.  Jake cuts another deal with Hayden and decides to ride out after Barney and the gold with dynamite as their secret weapon to use against the Apaches.  At the same time, he lights a fuse to a stick of dynamite that will blast Hayden to death.  Resourcefully, Hayden manages to defuse the TNT and reconfigure it to blast open his cell block door.  When Ming tries to stab Jake, the bounty hunter forces her to leave, and she finds Hayden who has escaped from Frye’s calaboose.  Hayden gets the drop again on Frye and leaves him with one bullet but enough dynamite to blow half of the Apaches off the mountain.

“Rider on a Dead Horse” reminded me of existentialist westerns like Budd Boetticher’s Randolph Scott oaters and Monte Hellman’s two Jack Nicholson horse operas.  The finale is reminiscent of “Treasure of the Sierra Madre.”  “Silver River” scenarist Stephen Longstreet derived his savvy screenplay from James Edmiston’s story who wrote the westerns “Day of Fury” and “Four Fast Guns.”  The dialogue is serviceable and sometimes clever. Uneasy alliances between men and women who don’t trust each other shift back and forth throughout this gritty western that turns out to far better than you’d think.

FILM REVIEW OF ''POINT BREAK" (2015)

Sometimes, the best thing a remake can do is remind you how inspired the original was.  Kathryn Bigelow’s rambunctious FBI procedural crime thriller “Point Break” (1991) followed a rookie G-man as he investigated a dauntless quartet of bank robbers on a crime spree that sported latex masks of past presidents.  Zesty dialogue, dynamic performances, striking surfing footage, and slam-bang shoot-outs propelled this invigorating film through its formula.  “Invincible” director Ericson Core, who started out as a cinematographer on actioneers like “The Fast and the Furious,” “Daredevil,” and “Payback,” has helmed a remake every bit as adrenaline-laced as Bigelow’s vintage venture.  Indeed, Core and veteran second unit director Mic Rodgers have staged stupendous stunts galore that are ten-times more electrifying than those Bigelow came up for in her tense Los Angeles based beach saga.  Comparatively, Core and “Law Abiding Citizen” scenarist Kurt Wimmer have shown the good sense to expand their remake beyond the confines of Los Angeles and set it in a larger-than-life, international arena.  Furthermore, the feisty villains in the remake hail from different countries just as their audacious felonies occur in picturesque parts of Italy, Germany, Hawaii, Switzerland, Venezuela, and French Polynesia.  If you cannot getaway to these exotic locales, “Point Break” (**1/2 OUT OF ****) is the closest thing you’ll get beyond an atmospheric National Geographic documentary.  The second best thing that this remake does is deliver realistic, death-defying, style stunts that will have you cringing in fear or clutching the armrests of your seat with white-knuckled fists.  

Extreme sports junkie Johnny Utah (Luke Bracey of “The November Man”) and his best friend, Jeff (Max Thieriot of “Jumper”), have embarked on a freestyle motocross in the rugged Arizona desert.  They straddle their dirt bikes with reckless but nimble abandon along the spine of a treacherous mosaic of knolls while a helicopter shoots video of their suicidal shenanigans.  The montage of these daredevils careening toward the end of the spine and then leaping their bikes like Evel Knievel across a gap to skid to a stop atop a towering monolith of rock the size of a small helipad is harrowing.  Unfortunately, Jeff skids too far, cannot recover, and plunges to his death from the mountain-top.  Jeff’s demise thoroughly devastates Johnny.  Johnny quits, goes back to school, and then graduates from law school.  Seven years later, our hero enters the FBI and finishes the obstacle course at Quantico as if it were a picnic.  Nevertheless, Johnny’s boss, Instructor Hall (Delroy Lindo of “Malcolm X”), isn’t sure Utah will fit in as an FBI agent after he completes probationary period. 

Meanwhile, an eccentric gang of thieves that has been ripping off millions from companies around the globe with ties to American conglomerates has the Bureau stymied.  This intrepid quartet storms the tenth floor of an African diamond company with their bikes and clean sweeps a fortune in jewels.  Afterward, they launch their bikes from the tenth floor and deploy parachutes as they descend.  These fearless Robin Hood robbers surprise the unsuspecting poverty-stricken natives of Mumbai and shower them with a million dollars worth of diamonds.  Later, these thieves raid a cargo plane in flight and release two giant pallets of paper currency in the skies above Mexico.  A blizzard of paper descends onto more unsuspecting but ecstatic natives.  The FBI is hopelessly baffled by both robberies.  Johnny Utah barges into Hall’s office and argues that the felons are extreme athletes.  According to our hero, these criminals are trying to complete a gauntlet of ‘Ordeals’ set up by an environmentalist-guru, Ozaki Ono, who died before he could finish them himself.  As it turns out, the ring leader of the gang, Bodhi (Édgar Ramírez of “The Bourne Ultimatum”), was the man who was with Ono when Ono died.  Roach (Clemens Schick of “Casino Royale”), Chowder (Tobias Santelmann of “Hercules”), and Grommet (Matias Varela of “Easy Money”) are in cahoots with Bodhi.  Hall sends Utah to scrutinize these guys with veteran FBI agent Pappas (Ray Winstone of “The Gunman”) supervising him.  

Johnny manages to infiltrate the gang after he nearly drowns during a surfing accident.  The same thing happened to the Keanu Reeves character in the original.  Instead of the gang’s moll saving his life, Bodhi rescues him.  Our rookie FBI agent is clearly impressed by Bodhi and classifies him as a Zen warrior in search of Nirvana.  Predictably, Utah’s sympathetic attitude puts him at odds with his cynical superiors.  Our protagonist accompanies Bodhi’ bunch on an ‘Ordeal’ where they don flying suits and glide through a craggy mountain pass as if they were acrobatic squirrels on aerial maneuvers.  The camaraderie between heroic Luke Bracey and villainous Édgar Ramírez isn’t as compelling as it was between Keanu Reeves and Patrick Swayze in Bigelow’s earlier film.  Bodhi surprises Utah because he isn’t interested in keeping the loot as much as giving it to the less fortunate.  Utah struggles to convince the Bureau that Bodhi and his cronies consider themselves crusaders rather than criminals.  Furthermore, they indulge in their insane antics to see when they will reach ‘point break’ where their fear will make them cowards.

Altogether, the new “Point Break” is only half as good as its superior predecessor.  The chief problem is that Core bogs the story down in the eight ‘Ordeals’ that Bodhi and his crew must perform.  Literally, the stunts overshadow the story!  Unfortunately, the movie degenerates into a surfeit of sensational looking Guinness Book of World Records stunts.  Core sacrifices any sense of narrative cohesion because he repeatedly puts the plot on pause to indulge in the aerobatics.  Eventually, the new “Point Break” reaches its own point break, and you find yourself wishing that the filmmakers would stop delaying the inevitable finale.  The last bank heist delivers a genuine surprise as our hero imperils himself to capture the villain, but by then “Point Break” has worn out its welcome.  Although it doesn’t surpass the original “Point Break,” this energetic remake will keep you poised on the edge of your seat.

FILM REVIEW OF "A TRAIN FOR DURANGO" (Italian-Spanish 1968)

Despite its many shoot-outs and high body count, "Bullets Don't Argue" director Mario Caiano's "Train from Durango" (**1/2 OUT OF ****)  is an early Spaghetti western comedy with lots of men dying. The Mario Caiano, José Gutiérrez ("The Hellbenders") Maesso, and Duccio ("The Ballad of Death Valley") Tessari screenplay resembles some of Sergio Leone's "For A Few Dollars More." In the Leone western, the outlaws hijacked a safe from a bank, but they cannot open it up without destroying the money, so Lee Van Cleef's Colonel Mortimer applied his skills as a craftsman to open the safe for a percentage of the loot. The heroic duo in "A Train for Durango" are out to accomplish a similar feat for a gang of revolutionaries. Caiano's film represents an example of those Italian westerns like Sergio Corbucci's "The Mercenary" that occurred during the Pancho Villa-led revolution in Mexico against the dictator President Diaz, so the appearance of an early model car driven by one of the protagonists is perfectly legitimate. The suspense evolves over whether or not this duo can survive their encounters with the gang. "A Train for Durango" contains several surprises at the outset, during the action, and at the end. Although the villainous outlaws are cretinous, they are also quite murderous and kill without a qualm. This supplements the suspense about whether or not our heroes will survive.

Two hard-luck drifters—an American and a Mexican—sell their horses and their six-shooters to catch a train to Durango. Not only do they not know the train carrying a huge safe filled with government loot, but also that a gang of bandits is aboard the train. The American, Gringo (Anthony Steffen of "The Stranger's Gundown"), strikes up a friendship with a beautiful woman, Helen (sexy Dominique Boschero of "Ulysses against the Son of Hercules"), doesn't seem to mind that Gringo hasn't taken a bath in ages. She informs him that since she's come to Mexico that she has grown accustomed to the stench of unwashed bodies. She offers him a cigar, and he winds up taking the case of cigars.

Meanwhile, Gringo's Mexican friend, Lucas (Enrico Maria Salerno of "The Warrior Express"), wanders throughout the train. Sneaking up on passengers, he gobbles mouthfuls of their food when they aren't paying attention or outright steals their chow. The bandits go searching for him when he arouses their suspicion. Meantime, when the train stops at a depot, Lobo (Roberto Camardiel of "The Big Gundown") and his army of bandits make their move. First, they kill all the passengers. They shoot Gringo, but the bullet embeds itself in the cigar case concealed under his shirt. Second, one of Lobo's henchmen, Heraclio (José Bódalo of "Ringo's Big Night") abducts Helen. Third, his gang of bandits transfers the government safe from the train to a wagon and hauls it away. Meanwhile, Lucas has eluded the bandit's and survived the massacre. Gringo and he find the keys to open the safe on the bodies of the murdered Americans. They decide to follow Lobo and his army of gunmen. They know that Lobo's bandits don't have the means to open the safe, and they propose a deal with one of Lobo's men to open the safe in return for splitting the booty.

The dreams that our heroes have prove ephemeral. A Lobo follower takes them captive and tries to obtain the key from them. First, he plants them up to their necks in the ground and places a pot over their heads which he bangs on to drive them crazy. Second, when the first option falls through, he has his men ride over them. The American produced but Spanish lensed "Guns of the Magnificent Seven" used this form of torture. Another American, Brown (a mustached Mark Damon of "The Fall of the House of Usher"), shows up earlier driving a car. Later, he appears at an opportune moment to wipe out the group of horsemen about to ride down on our hapless protagonist while they are buried up to their chins in the ground. Brown amounts to a kind of guardian angel for them. He intervenes later on during a night-time gun battle, careening into the scene and lobbing explosives at the villains Mexicans trying to kill our heroes.

Helen suggests that they use a small cannon to blow the safe open. When the cannon ball strikes the safe, it blasts it through the adobe hut that the safe was setting in front of and doesn't make a dent in the safe. Gringo and Lucas show up immediately after and try to infiltrate the gang. Lobo's second-in-command remembers that he shot Gringo and
our heroes have a close shave escaping from the bandits. Brown keeps showing up and helping Helen as well as our heroic duo get out of one scrape after another with their skin. Eventually, at the ending, Caiano and his scribes shed light on Brown's reason for repeatedly popping up at the worst possible moment to rescue out heroes.

Anthony Steffen and Enrico Maria Salerno make a charismatic heroic duo. They argue incessantly with each other and their arguments are amusing. Incidentally, future "Trinity" director Enzo Barboni served as the director of photography. Talented composer Carlo Rustichelli never leaves us in doubt when a scene is supposed to be amusing or murderous. "A Train for Durango" isn't the greatest Spaghetti western ever made, but it manages to be cynical, comedic, and entertaining.