Duelo en Diablo

What terrific production values—that trek across a hellishly barren Utah desert had me off the couch, running for a water pitcher. And catch all those cavalrymen, Indians, and wild horses, enough for at least ten more westerns. Then there's the great James Garner to headline, along with a spiffy Sidney Poitier. So, why isn't this a top-notch horse opera, given such promising prospects.

For one thing, there's about ten sub-plots too many. Heck, just the ordeal across the desert should be enough for most westerns without over-crowding the storyline. Sure, the script is making a good point about racism with Ellen's half-Indian baby. But do we need the soap opera sub-plot with husband Dennis Weaver that's mainly a distraction. Then there's Poitier showing it wasn't just white guys who won the west. And, of course, the screenplay has to carve out a large enough role for a second headliner. Add to that Garner's search for whoever scalped his wife that is sort of tacked on at the end, and we've got enough plot material for three more features.

Sure, the movie's heart is in the right place. But messages are one thing, while merging them into a fluid narrative is another, and here the sub-plots add to the general problem of too much storyline clutter. The root of the problem, I expect, was hiring too many name stars, even if Travers and Andersson are known mainly to foreign audiences. Speaking of the cast, Garner's unusual skills are largely wasted in a role any number of imposing presences like Clint Walker could have easily handled.

And I never thought it would happen, but by about the twentieth skirmish across the desert, I actually got a little bored with all the repetitive stunts and endless shooting. 'More', it seems, is not always better, and I suspect the lesson is there can be too much action even in an action movie.

Anyway, I don't want to simply dismiss the movie because of its excesses since there are also a number of good touches (Chata gets some respect as a leader of his people, even though we see him as cruel), along with the generous production values. I'm just sorry the movie doesn't succeed better given its praiseworthy side.

Lieutenant McAllister and a raw recruit of soldiers have to travel through Apache territory to deliver some much need ammunition to the awaiting Fort Conchos. Scout Jess Remsberg tags along with revenge on mind and horse broker / former trooper Toller who unwillingly receives an order to ride with them to finish off breaking the horses, if he wants the rest of his money. However McAllister and his small party find themselves trying to survive an Apache onslaught led by Chata, as the lady Ellen Grange that Jess rescued from the Apaches has something of importance to the chief.

A competently well-made and satisfying western that's highlighted by the prominent cast and exhilaratingly taut and unsparing action sequences. Ralph Nelson smoothly paces this drum-beating foray, with its adeptly bold and old-fashioned direction. His professional touch lifts the screenplay. Going a long way to giving it a real bravado feel amongst the gritty, dusty and sprawling rocky terrain, which is masterfully framed with a lot of ticker and claustrophobic channelling by cinematography Charles F. Wheeler. The main feature of the film that strikes a chord, has got to be composer Neal Hefti's effectively novel, melodic score that seems to match and illustrate the sequences and overall feel rather well, despite the uncanny tone for this type of film. I found the dynamic cues to be rather contagious. Albert and Michael M. Grilikhes' open screenplay (which is based on the Marvin Albert's novel, "Apache Rising") is pretty much to the point and a little lacking by simply going through the motions. But even with those vague moments, it still thrives on well-rounded dialogues from its sturdy script. In there are configurations of racism, and the unfair treatment of the Indians, but it's the personal confrontations and torment that makes for one gruelling exercise. It never lets any of this get carried away, but the starkly harsh nature stays throughout. The performances are richly devised, to stew up depth and realism due more to their favourable acting than in the way of the material. James Garner's winningly focused performance as rugged, seldom Jess is first-rate. Sidney Poitier classy turn as Toller is a different stroke and admirably good one. Bill Travers' growing performance is very strong and humane. Dennis Weaver eclectically solid. Bibi Andersson was mildly okay, but was hindered and the modest John Hoyt didn't see enough time as Chata.

Dated, but a well handled, compelling and tough as nails western, which finally shines through.

What makes this film interesting albeit unconventional are various themes that swirl beneath the main story line. Made at the time when the Civil Rights movement was in full swing, the film subtly touches on issues that were important during the 60s (e.g. racial tolerance, treatment of women and minorities). The film also has a brutal hard edge to it when it comes to the violence, death and the mayhem that takes throughout. The score gives a sense of desperation and inevitability which enhances its hard edge. Unlike many films of the genre, there is no clear cut protagonist or antagonist. The characters are realistic and more than mere two-dimensional cartoon characters for which the viewer could identify with. Overall, it is a thought provoking film that deserves a look in.

in an age when black actors were confined to black roles, this film shows Poitier in a role that could easily have been played by a white actor-plus he's the coolest dude in the movie.

Bill Travers doesn't have to do an American accent.

this was from a time that people believed that there could be major characters with foreign accents in the USA who weren't villains.

Of course the USA at this time, and at any time, had plenty of odd accents. Except in movies.

The credits are waaaay more imaginative that you'd normally expect.

The music is highly "different" The camera-work is very strange- all those overhead shots.

I love this movie, and is a film I can watch again and again. It's very stylised-the lines are delivered like they were from a comic book.

You know-the sort of thing Quentin T "discovered"

James Garner is a good lead in this rousing Cavalry v. Indians western. There are very good battle scenes between between the outnumbered soldiers and the attacking Indians. The underlying issues of prejudice add an interesting touch to the movie as well with James Garner's character struggling with the death of his Indian wife and the Bibi Andersson character struggling with raising her baby fathered by an Indian brave.

As in any good western, the scenery also plays an important part and the southern Utah settings are particularly striking. The musical soundtrack is a little off-beat for a western, but also very good. Dennis Weaver, Sidney Poitier, and Bill Travers all add to the movie with good supporting performances.