Valdez il mezzosangue

The Valdez Horses (AKA: Chino and Valdez the Halfbreed) is directed by John Sturges and adapted to screenplay by Clair Huffaker from the novel "The Valdez Horses" written by Lee Hoffman. It stars Charles Bronson, Jill Ireland, Marcel Bozzuffi and Vincent Van Patten. Music is by Guido and Maurizio De Angelis and cinematography by Armando Nannuzzi.

Chino Valdez (Bronson), half Indian, half Mexican, lives in solitude on his ranch and beavers away breeding and breaking horses. When one night a 15 year old stray youngster appears at his door looking for bed, board and maybe work, it signals a chain of events that will ultimately define the both of them.

It happens once in a while, a Western fan will observe the mixed notices for a particular genre piece and kind of dismiss it as being far from essential viewing, even if it happens to star an actor you greatly enjoy. "The Valdez Horses" is a beautiful Western, a thoughtful and reflective genre piece that seems to have been damned by those who got a completely different Bronson movie to the one they were hoping for. Regardless of the question of just how much directing John Sturges actually did on the picture (it's rumoured Italian Duilio Coletti did most of the work), the end result is a mature and engaging piece of entertainment.

It's a film that belongs in the company of "Monte Walsh", "Will Penny" and "Lonely Are the Brave", films that feature a macho male protagonist at odds with what is happening around him. In Chino Valdez's case, he's a loner, he likes a drink and he's constantly having to defend himself against the racists down in the town. He's at his happiest when it's just him and his horses, man and beast clearly understand each other. But when young Jamie Wagner (Patten) arrives in Chino's life, the equilibrium is upset, but in a good way, two lost souls finding a family foothold that both thought beyond them.

Yet there is of course a villain of the piece, Maral (Bozzuffi), an all domineering land baron who has absolutely no time of day for the halfbreed horse tamer. Things are further complicated when Maral's half sister comes to town, Catherine (Ireland) is prim and proper British, and immediately there's an attraction between her and Chino, there is just no way Maral is going to sit back and let a relationship develop there. A shame because Chino and Catherine benefit each other greatly, but the vile stink of hatred hovers over them like a black cloud waiting to unload its miserable cargo.

Some old reviews for the film claim its a series of un-cohesive scenes strung together! That really isn't the case at all, the trajectory very much builds towards the next stage of Chino and Jamie's life. Chino introduces Jamie to an Indian tribe, spending time with them and their way of life, even as he ruefully remarks to his young charge that they are a dying breed, there's a proud sheen to Chino that's most telling. Chino also takes him out for Xmas celebrations in town with the Mexicans, the young man clearly has never been so happy as he gets shown by Chino that not all the West is rife with bile. While elsewhere, all the scenes with the horses, the breaking in, the riding, the stare downs, are superbly filmed and emphasise the narrative's point of Jamie's further education.

There's some violence, it would after all be a shame to waste Bronson in that way, but this is no "Chato's Land" and newcomers to the film should be forewarned that it isn't a shoot em' up/fist fights rampage movie. In fact the ending is most unconventional and sure to leave some very frustrated. I know that I was initially, but a couple of hours later as I sat down with a glass of wine I pondered on how daring and poignant it was, a real bitter-sweet finale that deftly has you re-evaluating the whole point of the movie. Lovely scenery (Almeria, Spain) helps put the cherry on the cake, and with Bronson on fine form and his chemistry with Ireland and Patten set in stone, this is a far better picture than you may have heard it is. 8/10

Chino is the story of the typical loner who doesn't fit into society. Typical Bronson film with an un-typical Bronson ending. Bronson plays Chino who breaks and sells wild horses. After taking a young boy in as a ranch hand things start to get better for Chino. He falls in love with a rancher's sister and things deteriorate from that point. Can recommend this film for Bronson fans.

...with some touching moments. From the title you wouldn't expect much, but I liked this film a lot and wonder why it is almost never aired on TV. Bronson and Van Patten have a great chemistry and their on-screen relationship is very believable. The story is simple, with an interesting beginning and a good, plausible ending. The soundtrack is nice, too.

The only thing I would change in this film is to make it longer, add more scenes so we can get to know the characters in various settings, and delve into the background to the conflict between Chino and his neighbors.

I recommend this film, especially to fans of Charles Bronson. I will definitely watch this film again (finally saw it for the first time, after all these years!).

After directing Clint Eastwood in the western caper "Joe Kidd (1972)" (which I really like), the following year director John Sturges' helm the European western "Chino (1973)" that starred Charles Bronson. However these two films share very little in common. Sturges ably directs, but this one relies heavily on Bronson's presence and the unusual way things go on to play out in this very fragmented story. Nonetheless I didn't find it to be like your standard western / spaghetti item. It was broodingly slow, and the action saw very little to no daylight. It had a strange emotional and at times spiritual pull (like a stirring dream sequence) between the characters, that kind of made it unpredictable and primarily dreary. The material never sticks to one story, but moves about quite a bit in a typically mellow and subdued fashion. More often it focused on the convincingly growing relationship between Bronson and Van Patten, and their laboured effort on the ranch. Some of these plots don't add anything to the central idea, but still manages to compel (while not be completely satisfying) by giving the main characters some personality and weight. Bronson's performance bares someone who's genuine, and with a manner that still intimidates, but can show that warm side with not a care in the world to get into any sort of conflict. The unhinged ending beautifully paints that angle. Quite a curious turn on his part. Working alongside him was an exceptional show-in by Vincent Van Patten and his fellow squeeze at the time Jill Ireland provided some fire to the chemistry. Sturges simply knows how get striking location choices in the framing, and cinematographer Armando Nanuzzi formulates it accordingly with the on-screen action. Although the thing that hit me was Guido and Maurizio De Angelis' folksy casual music score of soothing attraction and swing. Creaky, but oddly intriguing little-known western.

"Chino" had such potential. It was directed (partially) by the great John Sturges and its star, Charles Bronson, gives a wonderful performance, exuding the kind of quiet masculine strength that no one in Hollywood has these days. Most of the complaints about the film have to do with its atypically downbeat ending. I won't spoil it for you, but I will say that I thought the ending, though viscerally unsatisfying, was intellectually and emotionally appropriate, more along the lines of something you'd read in a novel than see in a pop movie.

But what really goofs the film up is the see-saw realism brought about by being directed by two different men, the ailing Hollywood icon Sturges, and Duilio Coletti, unknown in the states, who may have been even further down the slope of his career in Europe. Formalist Sturges strove for at least the inner-logic of "movie reality." Coletti's work had devolved into the worst of sloppy Eurowesterns.

Parts of the film seem to strive for realism, using natural lighting effects, etc. But as the film progresses, more and more glaring anachronisms pop up, such as perfectly square hay bales, only possible with baling machines. This break with even a third-grader's knowledge of the old west reaches its zenith when a character burns down a house, using a PLASTIC JUG of kerosene. A PLASTIC JUG in the old west! Hard to believe that even a European wouldn't know that there was no plastic in those days. I don't know what the circumstances were behind Sturges either quitting or being fired from the director's chair part-way through the filming of "Chino," but it certainly seems as though the scenes he left missing were shot by Coletti as quickly and with as little thought as possible.

The film is also hobbled a bit by it's international origins. The villian is obviously French while his sister, played by Jill Ireland, is obviously British. Ireland has a brief bit of dialoge explaining this, but it only leaves you scratching your head all the more. Otherwise, "Chino" has many wonderful segments, thoughtful and well-acted.

As a postscript: I wish someone would restore this and other of Bronson's more unusual Euro flicks and make them available on high quality widescreen dvd. The currently available vhs and dvd versions of Chino, Red Sun, Honor Among Theives, Cold Sweat, You Can't Win 'Em All, and etc, all suck bigtime. MGM? Anchor Bay? HELLO?