Suave gambler Clay Watson, cocky sharpshooter Moses Lang, and wily thespian Edwin Kean are a trio of criminals in the Old West. The motley threesome are forced to form an uneasy alliance in order to find $400,000 dollars in stolen money.
Anthony Steffen, a young gunman who works as a circus performer, witnesses the killing of some outlaws carried out by their leader, is credited with the deed. Steffen suffers from a complex... See full summary »
Mike arrives home and sees it was vandalized, but seven silver dollars were left untouched - not much considering the bandits took his US$10,000 cash he needed to pay his farm, and took the... See full summary »
Returning from the civil war Jim Slade discovers his parents dead at their farm. It is said that the gang under the lead of Corbett has committed the crime. Jim now goes for revenge but ... See full summary »
Peter Lee Lawrence,
Very minor Spaghetti Western with a dreary plot, generally uninspired treatment (by journeyman director Brescia) and an underwhelming lead in Richard Wyler (despite the frequent close-ups of his blue eyes). Typically, we get a stranger whose arrival in a town controlled by an unscrupulous man causes upheaval the latter's lackeys start dropping like flies, while the previously spineless citizens decide to make a stand (even so, for a quartet of brothers, this only leads them to be buried up to their necks in sand though they get to show their true mettle by the end). Aiding the boss is a gang of Mexican outlaws led by an uncouth yet rambunctious Fernando Sancho.
Unusually, the score (always a crucial element to this type of film) is uncredited here which suggests that it may have been compiled out of cues from various other such efforts: as a matter of fact, I did recognize Texas, ADIOS (1966)'s memorable main theme (which is heard numerous times throughout)! The film's highlight is the casual demolition of a gun-shop in a fistfight involving Wyler and a handful of the boss' men; that said, the busy climax has the wily hero pitting town boss against Mexican bandit which is followed by a genuinely unexpected, thus effective, final twist revolving around a character depicted up to that point as merely benign (and who's given an ironic come-uppance to boot). Incidentally, the American title of this one is utterly meaningless; then again, the translated original TURN I'LL KILL YOU (actually spoken by Sancho only seconds before expiring) is equally lame!
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