La cabalgada de los malditos

Growing up, Harrison Ford was the greatest, and "A Time For Killing" was the only film I couldn't get hold of a copy of. Now, years later, I finally managed to track it down. Was it worth the wait? Not really. A mildly interesting premise, has been turned in to an extremely uninteresting film. Director Phil Karlson (with help from Roger Corman) is not exactly John Ford, but the locations are nice, and the cinematography is above average. But the script is terrible, all members of the cast looks like they are there for their paycheck and nothing more. This is still worth taking a look at, mostly because of all the great names involved: Karlson, Corman, Glenn Ford, Inger Stevens, George Hamilton, Harry Dean Stanton, Dick Miller, plus the already mentioned Harrison Ford. Forget the fact that this is the most forgettable most of them have ever done, and try to enjoy. It isn't a complete bore, it's just not particularly good.

This has always been one of my favorite Civil War flicks, along with Shenandoah, and Journey To Shiloh. Very gritty, exciting movie! However, I would never buy it unless it's released in the "wide screen" format, since much of the movie is invisible, due to the unacceptable use "pan and scan". Here's my vote for a DVD Wide Screen release.

Toward the end of the Civil War, Union officer Maj. Tom Wolcott (Glenn Ford) is hot on the heals of a band of escaped Confederate prisoners headed for the Mexican border. The mission is especially important to Maj. Wolcott as the Confederates have kidnapped his fiancé, Emily Biddle (Inger Stevens).

Overall, A Time for Killiing is a real mixed bag with the bad generally outweighing the good. One of my chief problems is inexplicable character motivation. Characters are liable to do just about anything from scene to scene. There's no consistency, with Maj. Wolcott being one of the worst offenders. The direction and plot are also weaknesses. The direction is often flat and the script does little to provide surprises. And there are moments where scenes go from location to indoor sets that's often jarring. Add to that overly bombastic and repetitive music, inappropriate comic relief, and Max Baer, Jr., and the problems are obvious.

Despite its problems, there are positives. Some of the acting is quite good. Ford gives his excepted quality performance. Stevens is both good and beautiful. And I was also impressed with Harry Dean Stanton (always good) and Todd Armstrong in supporting roles. Another plus is the scenery. When the production is on location, the scenery is breathtaking.

I'm giving A Time for Killing a 4/10.

Despite his advancing age, Glenn Ford made a number of westerns during this period, this one being one of his weakest. It does have an eccentric cast, most notably George Hamilton, who doesn't fit at well here. It's not that he can't act, but his look and demeanor come off a bit too "nice" for a character who should be meaner and grittier. Oddly, he has much more screen time than Ford, though maybe that's for the best since Ford seems a bit bored and uninterested in the little we see of him. It's not like the script is inspired or anything, giving us weak characters, unfunny comic relief (despite some brutality shown or implied several times), and even offensive racial stereotypes. Not to mention an underwhelming ending that at the same time feels unfinished. The production quality is also surprisingly cheap and sloppy at times, not just with some incredibly bad editing, but with obvious post-production shots and sequences shot in a studio instead of outdoors on location. Probably wasn't the inspiration for the movie "The Hunting Party" made several years later, but who knows.

If only for it's unusual cast, this Civil War western revenge saga merits watching one time. Unfortunately, there isn't a great deal more about it to recommend as it is uneven and unsatisfying for the most part. Stevens plays a missionary (complete with bleached-out blonde hair and '60's eyeliner) who's visiting her beau Ford at a cavalry outpost where he's holding Confederate Captain Hamilton and others prisoner. Soon after she leaves, Hamilton and a cache of his men revolt and escape. They capture Stevens and kick off a chase across the desert to Mexico with Ford in pursuit. Of main interest is the oddball cast which includes Ford (who, at 51, sure was dragging his feet in marrying Stevens!), Hamilton (his tan completely in place and with his helmet hair and come 'n go accent, a very unlikely Confederate prisoner of war!), Baer, jr (giving quite possibly the worst performance ever captured on film as a lunatic soldier who giggles when killing and fights incessantly with everyone), Armstrong (trading in his sword and sandals), Stanton (long-time character actor who appeared in many cult favorites), Peterson (fourth-billed former child star who has little to do but represent innocence) and Harrison J. Ford (hardly onscreen as a heavily side-burned Union soldier.) The film starts out with an incongruent theme song which is abruptly cut short by the action of the plot. This sets up a consistent pattern of odd music cuts and choppy editing (the music in this film is FAR too over-emphatic and insistent, not to mention repetitive.) There are some okay action sequences and some decent scenery and occasional periods of dramatic interest. They are often undone, however, by some really bad supporting cast members and awkward writing and direction. There's a Union officer with a thick New York accent, a pair of nitwit, supposedly amusing, but actually deadly unfunny soldiers who keep interrupting the drama with their awful shtick and then a passel of chatty cantina whores. The all time worst acting honor, though, goes to Baer, jr who is so relentlessly bad that it actually hurts to watch him. He's a lunkheaded, unbalanced giant whose penchant for violence is not as shocking as it is annoying. The actor claims that playing on "The Beverly Hillbillies" type-cast him, but he seems here to be unable to play anything better. The "comic" relief in the film (which couldn't be any less amusing) is at great odds with the rather visceral violence and cruelty of the rest of the film. It's all put together so amateurishly and with so little regard for nuance or real feelings that it hardly matters. Thus the opportunity to see some name/cult actors in a tough little western remains the primary attraction.