Los comancheros

The scene where the Duke Wayne character (Texas Ranger Jake Cutter) meets the Joan O'Brien character (Melinda) after a long time away. The powerful Elmer Bernstein soundtrack combined with the beautiful cinematography of the Old Homestead make this scene one of the best of any Western. Also the scenes where The Duke is jesting with his real life son ("we didn't beat this boy enough when he was growing up") and where he lovingly takes his real life daughter in his arms (scene at Melinda's small farm) are first rate. I give the movie a 9 out of 10.

The Comancheros" , Curtiz's last film , deals with a Texas Ranger named Jake Cutter ,a big man with soft heart , (the Duke John Wayne), assigned to bring a dandy gambler named Paul Regret (Stuart Whitman) for killing . Comancheros is a word that refers to those who favored or advantaged of Comanche Indians by selling weapons and alcohol . The relationship shared between the Ranger " and his prisoner" a dandy accused for murder in a duel to the son of an officer , gets enjoyable nuances and charm enough . Along the way confront bad boy (Lee Marvin) and a gang of liquor-and-gun running nasties of the title commanded by a villain ( Nehemia Persoff) whose daughter (Ina Balin) falls in love with Paul .

This actioner Western contains a wonderful friendship , thrills , adventures , rider pursuits , impressive attacks and loads of crossfire . ¨The Comancheros" Curtiz does the human touch including lots of nice moments , it is a very fine picture that could become another western worthy of any anthology. In the film "The Comancheros" the spectator enjoys because it has a lot of issues that make it agreeable . Even the female character played by attractive Ina Balin as "Pilar", reveals a woman who knows that she wishes and makes it irresistible. Large support cast formed by Western usual players as Edgar Buchanan , John Dierkes , Michael Ansara and special mention to big Lee Marvin . Breathtaking and lively musical score by Elmer Berstein , one of the best of Western genre along with ¨The Magnificent Seven¨ soundtrack. Colorful and spectacular cinematography in Cinemascope by William Clothier , John Ford's ordinary .

This well-paced film is stunningly directed by Michael Curtiz . He does the human touch and full of insight that accompanied him during most of his films and the story develops pleasantly in a large frame with an interesting plot and fully adjusted to the requirements of the action, which had to be shot in long part by specialist Cliff Lyons . Even in a time of filming, Curtiz had to be briefly hospitalized and the actor John Wayne, a character who gets very nice here, had replaced on the set. He was already sick, but accepted, perhaps because they wanted to die in a movie set . Michael Curtiz concludes a great legacy that included dramas, adventures, comedies, musicals, horror, historical films, police ... and a few westerns . He was an expert in strictly American film Noir genre and in drama as proved in ¨Bright Leaf , Flaming Road , Passage Marseille¨ and of course ¨Casablanca¨ . But also was specialist on adventure genre as ¨Adventures of Robin Hood , Sea Hawk ,Charge of the light Brigade , Private lives of Elizabeth and Essex¨ and Western as ¨Proud rebel, Dodge city¨and of course ¨Los Comancheros¨ . After directing about 180 films, the Hungarian director Michael Curtiz was already 73 years old, when he was called to lead what would be his last film and among all these pictures , many of them form already part of the great classics of cinema as ¨Angel with dirty faces¨ . .Rating : Good , above average . Worthwhile watching .

...was this rousing action western starring John Wayne, who also directed many scenes uncredited when the ailing Curtiz was too ill to shoot.

It's a pretty good western overall, not terribly original or up to the best of the genre, but certainly a solid, entertaining production with a veteran cast and few good action sequences that should please most Western fans and Wayne fans. In his typical and well-loved manner, Wayne plays Jake Cutter, a Texas Ranger trying to bring in a charming gambler charged with murder after a fatal duel, and also to deal with a band of outlaws who are trading in guns and whisky with the hostile Comanche Indians. Stuart Whitman plays the gambler, who meanwhile has fallen for a mysterious and independent-minded beauty he met before being arrested (Ina Balin), and later discovers she's the daughter of the ruthless head of the Comancheros (Nehemiah Persoff).

There are brief but memorable roles played by Lee Marvin, Bruce Cabot, Edgar Buchanan, Henry Daniell, and even Guinn "Big Boy" Williams, among others.

John Wayne made better films with John Ford and Howard Hawks and he even made more historically accurate films. But for pure entertainment value this is the quintessential Duke.

Cecil B. DeMille was of the opinion that motion pictures have to move. He wouldn't have anything to complain about The Comancheros on that score. There's not a dull moment in the film. This was the last directorial effort of Michael Curtiz and he kept the action flowing.

Three things stand out in The Comancheros. First Elmer Bernstein's music keeps the action going. You will be humming that theme days after viewing this film. Secondly the Cinemascope photography is breathtaking even viewing a formatted VHS copy. I remember seeing The Comancheros in the Sheepshead Bay Movie Theatre in Brooklyn as a lad and a theater is where this film should really be viewed.

But mostly since the two of them are on the screen together for about half the film, the chemistry with John Wayne as Texas Ranger Jake Cutter and Stuart Whitman as fugitive Paul Regret is what sets the whole tone of the film. Wayne and Whitman only worked one other time together and that was in The Longest Day. They were such a perfect fit it's a pity they didn't do more together.

This was also the first time the Duke worked with Lee Marvin. Marvin's character is only on screen for about 10 minutes, but you remember him throughout. This is also the final screen appearance of Guinn "Big Boy" Williams who must have done at least fifteen films with Michael Curtiz back in the heyday of Warner Brothers.

The Comancheros deserves an honored place in the performances of John Wayne and can't be beat for entertainment. A MUST for Duke fans.

One of John Wayne’s best latter-day films also happened to be legendary (and versatile) director Curtiz’ last: he was ill with cancer at the time, and the star himself (who had recently tried his hands at directing for the first time with the large-scale THE ALAMO [1960]) stepped in when the latter proved too weak to work; incidentally, the two had previously collaborated on the atypical TROUBLE ALONG THE WAY (1953) which has just been released on DVD by Warners. Ironically, Wayne – who is at one time called “Big Jake” in the film – would likewise deputize as a director for the ailing George Sherman (who produced THE COMANCHEROS) on another solid Western of his entitled BIG JAKE (1971)!

Coming right in between the farcical NORTH TO THE ALASKA (1960) and the elegiac THE MAN WHO SHOT LIBERTY VALANCE (1962), it’s neither as comic as the former nor as grim as the latter, but manages to strike a good balance between the two. The film has an interesting episodic structure: Texas Ranger Wayne chasing gambler Stuart Whitman (accused of murder), Whitman meeting mystery woman Ina Balin on a boat (having slipped from Wayne’s fingers), Wayne crossing paths with psychotic arms dealer Lee Marvin (with a prominent scalp), Wayne and Whitman eventually team up to rout the Comancheros – a renegade band with their own strict code of ethics who’s in league with the Indians (they’re led by Nehemiah Persoff, incidentally Balin’s father).

Wayne and Whitman work well together: the latter eventually co-starred in a similar Fox Western, RIO CONCHOS [1964], which is yet to be released on DVD – but, as it happens, has just been shown on Italian TV and I taped it for an instant reappraisal; Marvin has a brief but showy role, Persoff makes a fine villain, and Balin’s strong character is unusual for a Western (though she eventually reforms for the sake of Whitman!). There’s also a good supporting role for Wayne’s son, Patrick; and, while I don’t know how much say Curtiz had in casting the film, it was great to see two alumni of his in nice bits – Henry Daniell (from THE SEA HAWK [1940]) and Guinn “Big Boy” Williams (from DODGE CITY [1939]).

As can be expected, THE COMANCHEROS features plenty of well-staged action sequences (including a climactic bout in which all the various parties involved clash) – all set to a rousing Elmer Bernstein score, fresh from THE MAGNIFICENT SEVEN (1960). Watching the film got me thinking about another good Wayne Western from this later period which I haven’t watched in over 20 years – THE WAR WAGON (1967; incidentally, the last of 3 collaborations with Kirk Douglas) – which is actually upcoming on R1 DVD as part of a Universal “John Wayne Screen Legends” set...