I’m astonished this highly original western has disappeared into critical oblivion. As cruel as it is unusual, overturning every cliché, brimming with realism, more drama that action, some stunning scenes, and an ending only the bold would ever consider, this is desperately in need of reappraisal.
A refuge becomes a trap. The hero never wins. A spurned lover remains spurned. The cavalry are the dregs of society. Nobody listens to common sense. There’s no sending for help to relieve the beleaguered garrison. What chance does anyone have when the commanding officer is proud to die “by the book” rather than engineer a simple escape.
Gunslinger Chuka (Rod Taylor), arriving from the wintry north, shares some of his provisions with starving Arapaho Native Americans, comes upon a broken down stage containing two high-born Mexicans en route to California, Veronica (Luciana Paluzzi) and Helena (Victoria Vetri), his presence, thanks to that simple act of generosity, ensuring the marauding Arapahoes spare their lives. At the fort, a deserter is being whipped on the orders of martinet English commander Col Valois (John Mills). A patrol has failed to return so Valois won’t let the newcomers leave.
Chuka, sympathetic to the situation of the starving Arapahoes, suggests the colonel gives them food and sufficient weapons to allow them to hunt their own food. Veronica, now a widow, turns out to be Chuka’s long-lost love. Romance beckons but his unsavory occupation turns her stomach. Hired gun Chuka is not the only one to exploit need. Major Benson (Louis Hayward), the fort’s second-in-command, has a squaw (Herlinda Del Carmen), trading shelter for sex, stashed away.
Valois convenes a dinner party in honor of his guests – “I miss conversation and the elegance of dining in mixed company” – only to torpedo the occasion by revealing “what a uniform can conceal,” the sins of his officers: Benson a card cheat, Lt Daly (Gerald York) court-martialed for treason, the company doctor a coward. An arrow through the window ends dinner prematurely, Chuka demonstrating his skills in shooting the perpetrators.
and Rod Taylor is not quite so athletic.
Honor plays no part in Chuka’s life and he refuses to help out Valois unless paid $200, enough he thinks to start life afresh with Veronica, and only after a knockdown no-holds-barred fight with faithful Sgt Otto Hahnsbach (Ernest Borgnine), the only man on the post who doesn’t despise Valois – an upper-class stranger in a strange land – prevents Chuka leaving in any case.
On a scouting mission, Chuka finds the patrol strung up and a massive Arapaho war party on the verge of attack. He returns to a mutiny, led by Benson, quelled by a single shot by Valois, the first time, it transpires, he has killed a man. In a very moving speech, Hahnsbach reveals that Valois saved his life, but in consequence was tortured and castrated. Benson turns out to have a very soft spot for his squaw, feelings naturally unreciprocated. Valois refuses Chuka’s entreaty to abandon the fort, leaving the supplies and guns behind, but saving the lives of everyone.
This time it’s the Native Americans who exhibit the strategic martial skill. It doesn’t end well. And here’s no stirring music to comfort the audience. Defeat here is raw, none of the manufactured heroics of The Alamo (1960) or The Wild Bunch (1969).
Sure, I expected a tad more action, but in its place was a more than satisfying drama that honed to the reality of the American West, a pitiless region exploited by the pitiless. The rule of authority doesn’t just commit commanding officers to suicidal action, it also condemns civilians like Veronica, who flees her home rather than confronting her father over another forced marriage.
The ranks of the U.S. Cavalry – beatified by the likes of John Ford for whom occasional drunkenness and a fondness for fisticuffs were the only sins – must in reality, like armies the world over, have been filled with the scum of the earth, wanted men, killers, thieves and vagabonds, using new identities to escape their past. As if the best source of recruitment was characters on a par with The Dirty Dozen. While Valois and Hahnsbach believe they have whipped the men into shape, there wouldn’t be any whipping of deserters if that were true.
Valois the martinet certainly has parallels with the commanding officer of Tunes of Glory (1960), also played by John Mills, on the verge of a nervous breakdown as a result of his war experience. And we are led to believe that Valois is as “guilty” as the rest of the outfit when, in fact, he keeps his heroism hidden. Hahnsbach begins with an impersonation of Victor McLaglen, John Ford’s high priest of rowdiness, but he also reveals hidden depths.
This is Rod Taylor reinvented, far removed from the romantic charmer of the Doris Day comedies or the tough hero of The Mercenaries/Dark of the Sun (1968). And Taylor, himself, was very much responsible for bringing this laid-back but deadly gunslinger to the screen. He was the film’s producer, had an uncredited hand in the screenplay, redefining the role as he saw fit. And it was an audacious character to put on the screen. The gunslingers of The Magnificent Seven bemoaned their lot, lack of family, wives, emotional baggage, but they didn’t bring the Revisionist Western to life.
And although Clint Eastwood would put a different spin on the hired gun, the Leone films were not released in the U.S. until after this was made so would not have influenced the production. As well as sharing his food with the starving Arapaho, Taylor ensures his character puts their case in straightforward language.
And a sense of foreboding, courtesy of the opening scenes, hangs over the whole enterprise, and part of the skill of director Gordon Douglas (Stagecoach, 1966) is to lull us into a false sense of security, that somehow the main characters will escape the foretold destiny. I have mentioned before my surprise that Douglas is treated just as a journeyman director. Sure, his western output can’t be mentioned in the same breath as Ford, Howard Hawks or Sergio Leone, but this is not far off not just for its down’n’dirty attitude to the West, but for some moments of pure cinema. Not only does the ending echo the opening but our introduction to Taylor, via an aerial shot, echoes our last image of him, in both cases eyes gazing upwards in apprehension.
The dinner party scene is quite superb, and Mills goes from hidebound martinet to sympathetic character, his wistfulness as he recalls wooing women in the past likely to stay in the memory, as does his reaction to shooting the mutineer, while Borgnine’s recollection of Mills’ heroism is beautifully done, Borgnine, too, morphing from cliché bully to proper character. In another film, a star of Taylor’s caliber would have fought for a happy ending, but every opportunity for one, Taylor and Paluzzi scampering off into the sunset, for example, or being reconciled, is denied.
Good to see Luciana Paluzzi (Thunderball, 1965) in a more interesting role and Victoria Vetri (credited here as Angela Dorian), prior to her Playboy fame, given the chance to play a more rounded character than when she went down the Raquel Welch route in When Dinosaurs Ruled the Earth (1970). Richard Jessup (The Cincinnati Kid, 1965) wrote the taut screenplay based on his own novel.
Couple of minor quibbles – why doesn’t the window break when an arrow comes through it but shatters when Chuka jumps out, how come the Native Americans have enough guns to launch a major attack on the fort but not enough to hunt for food? But those are very minor points.
Very worth seeing.
The Magnificent 60s 