In einem Sattel mit dem Tod

Hannie Coulder (Raquel Welch) is living along with her hubby when three nasty brothers (Ernest Borgnine , Jack Elam , Strother Martin) kill her husband and she is raped . She is healed by a bounty hunter (Robert Culp) who teaches her how to be an expert gunwoman . Later on , a gunsmith (Christopher Lee cameo) builds Hannie a specialized revolver for her journey ahead . The revenge starts and early she is ready for it .

The picture contains action , gun-play , humor and a little bit of violence when the violation and murders are happening . The film follows Spaghetti Western rules , thus gets violent feuds , greedy and extreme baddies , spectacular shot'em up , rapid showdowns, and habitual plot : the vengeance ; besides , being shot in Almeria (Spain) where during 1960s-1970s years had been filmed several Italian/Spanish Western . Quentin Tarantino later said the film was one of his inspirations for "Kill Bill . Raquel Welch is enjoyable and enticing , though wooden , Robert Culp as the veteran gunfighter is top-notch . Special mention for the humorous and ironical trio of brothers , they are amused parodying the Western killer gang . The usually villain Christopher Lee makes a brief intervention as good guy at a cameo , in his seven decade career , this is Christopher Lee's only Western . It appears Stephen Boyd as a ghostly gunman , he is uncredited at a brief appearance as the gunfighter simply known as "The Preacher" .

Lively and catching music by Ken Thorne . Glimmer and colorful cinematography by Edward Scaife . The film is produced by Tigon ,a known British production habitual in Horror films . The motion picture was directed by Burt Kennedy , a specialist in Western genre , he also rewrote the screenplay but was not credited . The film will appeal to Raquel Welch fans and Spaghetti Western enthusiasts .

After she is raped and her husband murdered, a woman (Raquel Welch) hires a bounty hunter to instruct her in the use of a gun so she can get her revenge on the three outlaws (Ernest Borgnine and two guys) responsible.

Quentin Tarantino said the film was one of his inspirations for Kill Bill. "Why I love Hannie Caulder so much is Robert Culp. He is so magnificent in that movie. I actually think there's a bit of similarity between Sonny Chiba and Uma (in Kill Bill) and Raquel Welch and Robert Culp in Hannie Caulder." You can totally see it during the training montage, which smacks of kung fu movies more than westerns.

And Christopher Lee is in this? How many westerns has he done? None other that I can think of. But what do I know? It is still great seeing him here.

A good solid 70's western of the revenge formula with one vital refreshing story point, a woman pursuing those who did her wrong. And she's not just any old cowgirl, as you may have noticed from the cast list. If the plot as a whole is not one of the most original, the great cast does give a good reason to see this movie. Raquel Welch does what she can in the bit limited role and she does it fine. Three western icons of Elam, Borgnine and Martin make a bunch of villains that is at the same time one of the most revolting and tracelessly funny. If you have liked them in earlier westerns of Peckinpah and Kennedy you get mostly the same great treatment here. Martin especially always ends up stealing the show as the most dangerous idiot in the west ever. Robert Culp gives a good performance as a bounty hunter and killer with a piece of heart still left and a sensible head. And for Christopher Lee fans like me, here he is noteworthy as always and apparently in his only western role of all the countless movie roles he has made. A pretty small role actually but it can't keep a great actor down.

The strong influences of Peckinpah and spaghetti westerns are pretty obvious and mix together surprisingly well. The plot could have deserved a bit more development but it gives fairly good enjoyment as it is, if you enjoy westerns in general. I consider this one of the better films from director Kennedy.

By 1971 the ripples the spaghetti western movement were in full effect in both sides of the Atlantic and Hannie Caulder is definitely a product of those times and the progeny of the films of Leone, Corbucci or Parolini more than the traditional oaters of John Ford or Anthony Mann. It's evident in the bloody gunshots, the sexual violence and the way the revenge plot unfolds.

Undoubtedly part of the genre revisionism that turned the western upside down in the early 70's is the genre reversal tactics that director Burt Kennedy employs. We had seen a woman adopting a traditionally masculine role in the bossy, no-nonsense, gun-totting saloon owner Joan Crawford played in Johnny Guitar. Hannie Caulder however takes a different approach and adopts almost verbatim the narrative skeleton of a typical spaghetti western - the anti-hero, traumatized by a past event, looking for revenge. Then proceeds to cast the beautiful Raquel Welch (and her tanned, well toned thighs) in a role that in Italy would have been exclusive to the likes of Franco Nero, Anthony Steffen or Maurizio Merli.

Three bank robbers on the run from the Mexican Federales stop in a horse station, kill the owner, rape the wife, burn the place down and leave her to die. A passing bounty hunter takes the wife under his wing and travels with her to Mexico to meet a gun maker that used to work for the Confederates. It's there that the typical "training" part of the anti-heroine takes place and where she makes the turn from a "wounded animal" to a woman coming to terms with the path of revenge she has chosen. By the end of the movie Hannie Caulder has transformed to a gutsy, smart and wisecracking antiheroine and in no uncertain terms has embodied the "angel of death" aspect of the black-clad antiheroes of the spaghetti western - which is also evident in the final fight that takes place in the middle of a sandstorm.

A major asset of the film is the cast. Not because they turn in Oscar worthy performances - they don't. But it's always heart-warming to see so many familiar faces in the same film. Apart from the ravishing miss Welch, Christopher Lee appears in a brief role as the gunmaker (and it's funny to hear his British accent so far removed from the foggy sets of Hammer studios), Ernest Borgnine yells his way through the film (annoyingly so) as the leader of the three bank robbers and Jack Elam and Strother Martin steal every scene as the other two brothers of this formidable trio.

Ah sue me! I think it's great. Raquel Welch plays Hannie Caulder, a gorgeous cowgirl who is raped and left widowed by three scuzzy brothers played by Ernest Borgnine, Strother Martin and Jack Elam. Hell bent on revenge, Hannie hooks up with smooth bounty hunter Thomas Luther Price (Robert Culp excellent), learns how to fire weapons and pursues her quarry to the day of reckoning.

That is it, it is what it is, Welch is stunningly beautiful and sexy and director Burt Kennedy wastes no opportunities to capitalise on this fact. If we are honest she's miscast, but it really doesn't matter, nor does finding Christopher Lee in the picture as a wily old gunsmith!

The mix of humour with a rape revenge storyline is a little uncomfortable at times, but not insultingly so, while Kennedy has a good eye for action. Edward Scaife photographs (Panavision) pleasingly out of Almería in Spain, and Ken Thorne's musical score trundles along without intrusion.

It's off-beat, even unique, and while it misses the chance to be a feminist Western of some standing, there's a real good time to be had here for those willing to buy into the daftness of it all. 7/10