Los cuatro despiadados

It's Brokeback Mountain - The Western!

Four strong leads all out for the same gold make this a Western worth tracking down. George Hilton has basically confirmed in an interview that he and Kinski are supposed to be gay lovers in this film too, which lends a unique angle to the film.

Van Helfin plays Sam Cooper, a gold prospector who, after searching for decades, finally finds gold out in the middle of nowhere and is immediately double-crossed by his partner. One dead partner and a blasted mine entrance later, Cooper heads across the endless landscape and finally makes it back into town, where he sends for surrogate son and ex-partner Georgel Hilton.

Hilton worked with Cooper for years but gave up the search to go off and do something else. Cooper reckons that Hilton is the only guy he can trust, and while having a sauna together (more homoeroticism here as they spot two semi-naked blonde gunslingers), Cooper bumps into another ex-partner, Gilbert Roland, who has a major chip on his shoulder with regards to Cooper.

Stranger still is the blonde, milk drinking preacher who has started hanging around the place, staring at Hilton. It turns out that Hilton and Kinski have some sort of relationship but judging by the body language it's an intimate one, and not a fair balanced one as Hilton seems to be Kinski's 'b*tch'. Cooper isn't too happy to have this weirdo come along with him, but Hilton tells him a third pair of hands is better than two. Cooper then hires Gilbert to watch his back, saying that four pairs of hands are better than three. I'm detecting some trust issues here...

While basically a film where four guy stare at each other mistrustingly, the film is fascinating due to the actors involved. Van Heflin literally looks like someone's hung him to dry in the sun for several months, while Gilbert Roland alternates between being immaculately turned out to shivering with Malaria tremors, and gives us a little dance right before a gunfight that wouldn't be out of place in a Tarantino film! Kinski keeps himself restrained and that's what gives his character so much menace. He uses those crazy guy to glare at everyone without expression, but you know there's murderous thoughts going on in there. His understated, hinted relationship with Hilton just adds another layer to this outstanding film.

Nice cinematography too. I hadn't heard of this one until last week. How many other gems are out there?

Weather-tattered but hearty and belligerent gold-digger Sam Cooper hits the motherlode after twenty tired years of pickaxing the hills only to find his gold-digging partner gunning for his ass. Having taken care of his treacherous partner by means of exploding his own gold-mine, he returns to town through the desert, parched and terrible-looking, with plans of getting back to the goldmine and mining the gold with a partner he can trust, a hard enough prospect in a town full of greedy, backstabbing sons of bitches. For that purpose he sends word for a child he once took care of back in Denver, who arrives promptly in the slick and suave shape of George Hilton. Along the way and before they have even left town, two become four (the titular ruthless), and none has any more trust for the other three than he has for his own self getting out of this alive.

Thus begins a tale of greed and betrayal not unlike John Huston's gold-digging landmark TREASURE OF THE SIERRA MADRE, the impeccable characterization somewhat toned down in favor of gunfighting. Director George Holloway doesn't miss the occasional false note, such as the terribly ill-conceived oriental 'epic music' that accompanies the gaunt and exhausted quartette as they travel back from the goldmine through the deathly desert, music that would have been at home in a sword and sandal epic or a religious movie but not a gritty western; these guys aren't Moses crossing the Red Sea. For the most part however he retains a constant level of intensity and intrigue, the four protagonists characterized in broad strokes yet enough for them to have something to play on.

Giallo casanova George Hilton is the weak link in the cast, his overacting bound to elicit a smile or two, but Klaus Kinski fans will be pleased to know the eccentric German and his half-mad stare have plenty of screen time. Unlike the myriad walk-through cameos he's done in other spaghetti westerns, he's one of the main guys here – always a sneaky villain of course, here as the Blonde, a cut-throat, milk-drinking thug dressing like a reverend. The German print I saw was called The Gold of Sam Cooper and was not terribly pristine but overall this one's a must-see for spaghetti western fans.

So many of these Spaghetti westerns were made I wonder how many lost gems there might be that will never be seen again. This one is out of print but there are a few VHS still floating around.

This one has the benefit of a really tight script and excellent cast. Two old time hollywood veterans Van Heflin and Gilbert Roland. And two spaghetti stars Klaus Kinski and George Hilton. All are on top form but its Heflins movie and he turns in a good performance. Direction is assured and inventive. Exceptionally good shoot out in the middle at the mission. Kinski is also effective as a sunglass wearing killer dressed as a preacher, who may have a homosexual relationship with Hilton. It seems hinted at. Watch and decide for Yourself!

Ruthless Four, The (1968)

*** (out of 4)

Spaghetti Western take on The Treasure of the Sierra Madre has Van Heffin playing an elderly gold digger who finally hits it big but is betrayed by his partner who he has to kill. After being robbed by some bandits, Heffin must leave his gold behind and head back to the city where he asks his stepson (George Hilton) to go back and get the gold with him. The stepson agrees to go but is forced into taking an ex partner (Klaus Kinski) and even Heffen is forced to bring along a man (Gilbert Roland) and soon all four are looking over their shoulders. This is far from a great film but it has a terrific cast and a very good story, which makes this a worthy addition to the good titles that this genre has given us. The music score really hurts the film as it sounds out of place but outside of this everything else works just fine. What works the best are the terrific performances with Heffen leading the way. Just take a look at the early scene when his character is dragging himself out of the desert and nearing death from lack of water. I'm not sure what Heffen did to "look" the part but it's rather amazing to watch him. Kinski, playing that mysterious silent man, is terrific as well and makes for a great villain. Roland also delivers a fine performance as the calmer bandit and Hilton is good, although can't really touch the other three men. There are a couple classic shoot outs in the film with an excellent one coming half way through the film. The direction is also nice throughout and there's some wonderful scenery as well.

This is another good Spaghetti Western, one that even got a laudable appraisal in the "Leonard Maltin Film Guide"…not to mention the seal of approval of our own Michael Elliott! Actually, it's a character-driven piece – with the action spread neatly throughout yet proficiently executed. Besides, it's exceedingly well cast: ageing American star Van Heflin is excellent in one of his last roles; both Gilbert Roland (himself a Hollywood veteran) and especially George Hilton did their fair share of Spaghettis, but it's safe to assume that they were never better than here; Klaus Kinski, then, has a typically enigmatic role for which he sports numerous eccentric 'costumes' (from preacher's garb to shades to a raincoat over his head and even a makeshift turban!).

Unfortunately, as had been the case with THE SPECIALIST (1969), the copy I acquired (English-dubbed this time around) lapsed occasionally into a different language without the benefit of subtitles – but, whereas I could more or less make out what was being said in French with respect to the Sergio Corbucci film, here it's in German (even the print bears the title DAS GOLD VON SAM COOPER)! In any case, the narrative – bringing an old-fashioned situation up-to-date, stylistically speaking – deals with Heflin's striking gold and his attempt to find suitable partners (his previous one had already tried to double-cross him!) that would help him extract the precious element: what he ends up with is an interesting bunch – Hilton, the miner's former protégé (who's not as clean-cut as Heflin seems to think); the young man's domineering companion, Kinski (who's actually quite subdued here); and Roland, another old-timer (who, bearing Heflin a personal grudge, will no doubt look out for him from being 'jumped' by the others[!] – though he's ultimately revealed to have appointed a cowboy duo to shadow the 'expedition' before they think, erroneously, of cutting in on the deal). Carlo Rustichelli's score is, again, more traditional than most genre efforts but robust nonetheless; that said, it breaks into a semi-lounge piece more suited to a German "Krimi" during the scene in which Kinski drops some gear while ascending a mountain and has to be tied in order to go back down and retrieve it (given that this is one of the scenes presented exclusively in German, could it be that the music was changed in that country?)!

The film was co-scripted by Fernando Di Leo (a Spaghetti Western regular during this time but who never actually contributed to the genre after graduating to director!) and Augusto Caminito (who, as a film-maker in his own right, would make a couple of pictures with Kinski towards the end of the actor's life – including the little-seen GRANDI CACCIATORI [1988], which I have in my "To Watch" pile of obscure "Euro-Cult" titles recorded off Italian TV!). Curiously enough, co-producer Luciano Ercoli would also subsequently get to be a director – proving a notable exponent of the Giallo form.