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A tale of western revenge, "Chato's Land" has a cast of many well known actors including Jack Palance, Richard Basehart, Simon Oakland, Ralph Waite, Victor French and James Whitmore as well as Bronson in the lead role as Pardon Chato.

Chato is a half-breed Apache who makes the mistake of visiting a town that is hostile towards Indians. Being set upon by the sadistic town Marshall, Chato kills the lawman in self defense and must run from a posse of the town's people led by Jack Palance as Quincy Whitmore. Palance is excellent as Whitmore, an ex-Confederate officer who still longs after the excitement that comes from waging war. Leading the town's men in pursuit of Chato, Whitmore is decked out in his Confederate officer's jacket and plummed hat. Along with Whitmore is Nye Buell (Basehart) dressed in top hat and frock coat offering his whiskey laden salty commentary along the way. Simon Oakland also does a fine job as Jubal Hooker, the vicious elder of the degenerate Hooker clan who takes control of the posse from Quincy and ultimately cause the death of several of the posse members.

This movie has some beautifully set scenery that captures the harshness of the desert land that Chato takes refuge in. Whitmore comments that the harsh land is something that a white man would just damn off to hell and forget, but to Chato who doesn't ask much or take much from the land, it is almost a living thing.

Once again this movie review sight has given a superb movie a lousy rating, and once again I blame the morons that write these reviews. Clearly the coming of brain transplant surgery will be none to soon. This movie is what westerns are supposed to be like, gritty, tough, sweaty, with no holds barred and plenty of action and blood. The plot is simple but works well and does not treat you as if you're a dummy, everything that happens makes sense. Bronson definitely looks and acts like he is an Indian living off the land, he does a superb job and I defy anyone to think of another actor who could play this role. The ending while immensely satisfying also leaves you feeling quite empty as the hero may have won, but why did it have to happen in the first place. Hatred, discrimination and overconfidence were the root causes which drove the posse to chase this fugitive into country he called his own, and in the end they paid for it with their own blood. So I guess you could say this movie also makes you think a little as it does have a moral to the story, which most of the new movies do not.

Released in 1972, "Chato's Land" is typically written off as lame Spaghetti Western with Charles Bronson but, actually, it's a UK production shot in Spain, Mexico and Arizona. And, secondly, there's more depth here than the one-dimensional racist-revenge plot might first lead you to believe.

I'll admit that I was turned off to this movie for years due to Brian Garfield's scathing review in his excellent book "Western Films," where he called it "cheesy, dreary, phony," but an open-minded and honest viewing proves him wrong. Yes, it's dreary, but it's not cheesy or phony. It's true that the desolate Spanish locations are phony, in that it's not the American Southwest, but other than that the characters and dialogue ring true.

The plot is simple: Chato, a half-breed Indian (Charles Bronson), shoots an arrogant, racist lawman in a saloon and a large posse is assembled where they chase Chato in his own element, which is why it's called "Chato's Land."

Bronson's role is taciturn, one-dimensional and almost invisible, until the end where he's a stunning example of masculine strength. Amazingly, Bronson was 50 years-old during filming, but he was in prime physical condition with not an iota of fat. Another reviewer commented that, if he were 6'5", he would've made a perfect Conan the Barbarian.

Bronson's striking presence and solemn performance is key to the success of the movie, of course, but the film's true strength is the writing/directing and the stellar cast that make up the posse, including Jack Palance, Richard Basehart, James Whitmore, Simon Oakland, Ralph Waite, Richard Jordan and more. The group dynamics of the posse and their interplay is where the film shines. Four or five of the men are good men, but they're too blinded by cultural bigotry toward a half-breed to realize the injustice of their cause. It never occurs to them that Chato has rights and that the slain lawman was in the wrong. All they focus on is that a sheriff is dead and a half-breed did it. Most of the rest of the posse are unlikable or repugnant, particularly a character played by Richard Jordan and his father, played by Simon Oakland.

Due to their differences, the loosely put-together posse lacks solidarity. Some are hell-bent on apprehending or killing Chato while others are rather half-hearted on the issue, pretty much just doing a favor for the former Confederate Captain, played by Palance. You have to listen closely because sometimes the dialogue isn't too clear, but the quality writing brings these characters to life.

Why does Chato become increasingly merciless as the story progresses? At first, he does things to simply deter the group and provoke them to give up, like destroy their water supply, but at a certain point some of the members of the posse cross the line and do something particularly heinous, not to mention utterly criminal, proving that they are the true criminals and not Chato. Some of the members object, which is respectable, but not enough to stop the atrocities and so they become guilty by association. It's called cowardly condoning.

As for the slightly ambiguous ending, what's the point? Chato need not kill when Chato's land will do it for him. That's why it's called "Chato's Land."

The score is decent with a compelling percussive part, but some aspects are too dated. An exceptional score would've propelled a good Western into greatness or near-greatness. Also, some of the editing is too abrupt and awkward. Still, despite its one-dimensional plot, "Chato's Land" is a quality Western. With all due respect, Brian Garfield was wrong.

The film runs 110 minutes, but there are versions that cut-out about four minutes of R-rated material.

GRADE: B

Chato's Land was a pleasant surprise, due to its mixed reception and that the type of film that it falls under is not always my thing I was not expecting an awful lot. But seeing as the cast was a good one on paper I thought, why not? Chato's Land is not going to be for everybody, it's very gritty and violent(some of it being not for the faint-hearted, the most memorable of it actually being very brutal) and Michael Winner's films are the kind that will entertain some and not be others' cup of tea.

The film is a touch overlong and gets a bit draggy in spots, while the ending is rather abrupt and rushed- sure it was intended to be ambiguous but for me there was the feeling of uncertainty of how to end it- and the day-for-night lighting/shooting is awfully obvious. Jerry Fiedler's music score compliments the film well and dynamically orchestrated but could have had a more sweeping punch and with less of a TV series and workmanlike pace. However Chato's Land was a pretty good film, apart from the day-for-night it's reasonably well made with splendidly gritty scenery and handsome photography that suits the atmosphere. Chato's Land is also very intelligently scripted with some remarkably literate dialogue, the direction from Michael Winner is above competent at least pacing and technically-wise and the story mostly is well-paced and compelling.

In terms of action, that in Chato's Land is sparse but when it does appear it really does pack a punch. For an action/Western film, what was really impressive about Chato's Land was the way the characters are written. The characters here are very interesting and with plenty of layers, Captain Whitmore is a very multi-faceted character and perhaps the most multi-faceted role of Jack Palance's career. The great performances help(apart from for my tastes the hammy one of Richard Jordan), Charles Bronson has rarely looked better and brings a real commanding charisma every time he appears, very telling even when not saying very much. James Whitmore, Richard Basehart, Simon Oakland and Ralph Waite give solid support but best of all is Jack Palance, who is superb in one of his better and more layered performances.

Overall, far from perfect and not for everybody's tastebuds but a pretty good film. 7/10 Bethany Cox

Charles Bronson plays Chato a half-breed(as they used to say) Apache/White, who finds himself a hunted man when he kills a racist sheriff in a saloon. Despite it being an obvious case of self defense, the townspeople form a posse led by former confederate Quincey Whitmore(Jack Palance, well cast) who seems excited about being in a leadership position again. They pursue Chato into his territory in the mountains, only to discover that they have vastly underestimated him, and that he is determined to get rid of them in any way he can...

Charles Bronson is not given much dialogue here, but is in amazingly good shape, as he is seen shirtless for the film's duration. The posse are shown to be either ignorant and hateful, or just in over their heads. Sympathy is clearly for Chato, who was wronged, but is also quite ruthless himself(justified though.) Allegorical to Vietnam in the sense of a group of Americans thinking their quarry an ignorant savage, but learn that it was foolhardy to pursue him on his own ground.

Though quite grim, it is realistic; Bronson has incredible screen presence, and director Michael Winner presents this story in taut fashion, with a striking ending.

Michael Winner's "Chato's Land" of 1972 starring the great late Charles Bronson and the equally grand Jack Palance, who also passed away recently, is a tough-minded and violent English Western which should not be missed, and a must-see for every Bronson fan. Director Winner, who is most famous for his violent 1974 cult classic "Death Wish", is certainly one of the masters of uncompromising revenge cinema and "Chato's Land", Winners first collaboration with Bronson, is one of the movies which have rightly earned him this reputation.

When half-breed Apache Pardon Chato (Bronson) shoots a racist Sheriff in self defense in a Saloon, local men form a posse to catch him, in order to hang him as soon as possible. The posse is lead by former Confederate Captain Quincy Whitmore, who is more keen on the manhunt just for the good old times than out of hate towards Chato. The sadistic Hooker brothers who have also joined the posse, however, hate Indians of any kind, and they don't have the slightest scruples of doing anything to make the fugitive pay for defending himself. As the posse members get deeper and deeper into the desert of Indian territory, however, they have to find out that they might have underestimated their opponent. This is Chato's land, and in Chato's land the hunters can quickly become the hunted...

The acting in "Chato's Land" is great, Charles Bronson, who hardly says a word fits perfectly into his role. Jack Palance is superb in his role of Capt. Quincy Whitmore, and I couldn't imagine anybody else but Bronson and Palance to play the leading parts in this. Simon Oakland and Richard Johnson are also great in their ugly roles of Jubal Hooker and his psychopathic little brother Earl, and the cast furthermore contains Richard Basehart. The film is very well photographed in the Spanish Almería, certainly the best location for European Westerns.

"Chato's Land" is a brutal, tough-minded and great Western, which should not be missed by anybody who likes revenge movies. The performances are excellent, and the movie is stunning, raw and atmospheric from the beginning to the end. A must-see for Charles Bronson fans, Chato's Land is a great film. Highly recommended.

A laconic Apache is pursued by a posse to solve a sheriff's death , dead in self-defense showdown by Chato (Charles Bronson) . Stalking the misfit group who are allegedly to be chasing him , after they attack his woman and family . A veteran confederate officer (Jack Palance) leads the posse (Victor French , James Withmore , Lee Patterson) along with three brutal brothers (Richard Jordan , Simon Oakland , Ralph Waite). Chino struggles to maintain his livelihood and later on , he seeks revenge .

This offbeat Western film displays excessive violence , noisy action and orgies of destruction of life and property . It's full of fury , sound , sadism and gratuitous violence . Characters are beaten, killed and raped . Pretty good Charles Bronson in his ordinary tough role , this film is one of Charles Bronson's 70s westerns ; his westerns made during the 1970s include Red sun (1971), Chato the Apache (1972), From noon till three (1976), Nevada Express (1975) and The White Buffalo (1977) . For Charles Bronson fans , it's full of what made his movies so popular . Although isn't among Bronson's stronger , this is one of his more viscerally effective movies . Striking and atmospheric musical score by Jerry Fielding , Sam Peckinpah's usual . Colorful cinematography by Robert Paynter reflecting splendidly the barren outdoors from Almeria (Spain) , as usual . The motion picture was well directed by Michael Winner . This is the first film out of six that Charles Bronson and Michael Winner made together . Winner had important commercial successes in the mid-70 with his fetish actor , Charles Bronson , achieving various box-office hits, such as ¨Deathwish I and II, furthermore, ¨The mechanics¨ and ¨The stone killer¨.

It's a good euro western that has aged quite well. The U.S. edition is different from the European one : the rape scene was reshot with no nudity, the burning of Bronson's brother is far more violent and gory, some bloody close ups have been removed. The french DVD issued last year contains the "director's cut" and really is a better one. Same thing for another Michael Winner western from this period : "Lawman" in which the euro version shows more of Sheree North's breasts and much more blood. These are not really "director's cuts" per se, but alternative versions of the same film for different countries. Tarantino recently did that with "Kill Bill".

WARNING: This film features a rather graphic rape and there is a significant amount of nudity. This scene seemed to be less to show the horrors of rape and more to be 'sexy'....something which I find distasteful and many other viewers will doubtless feel the same way. If you have been a victim of such an attack, do yourself a favor and skip this picture....as the rape was not handled in a very sensitive manner at all.

When the story begins, a local sheriff picks a fight with Chato (Charles Bronson) and tries to shoot him. Chato is faster and kills the horrid sheriff....purely in self-defense. Chato, wisely, runs...and soon a posse is organized to find Chato and kill him. The posse clearly isn't concerned with whether or not Chato was justified...Chato is a half Indian, so he simply deserves to die.

As the posse progresses, it's obvious that there are some seriously sick and disturbed folks among them. Clearly, many of them should be the objects of a posse themselves...and many of these cutthroats essentially take control of the group. Eventually, they catch up not with Chato but his wife...and they take turns raping her. What this ends up doing is making Chato even more angry and ready for retribution. And so, slowly, he begins leading the men further and further into Indian territory as he then picks them off one at a time. And, the viewer is cheering for Chato because he was innocent and the posse in need of killing.

This is a decent western, though as I first mentioned, I did not think the rape was handled appropriately. It seemed to show a lot more of the victim's body than was necessary...in order, presumably, to titilate viewers....which is pretty sad. As for the story itself, it's decent and there are a lot of very familiar actors. A good story....but handled poorly by the director at times and could have been better. Overall, a very grim and often unpleasant film.

By the way, as you watch the film, pay attention to the saguaro cacti. They are often obviously fake and really look little like the real plants.

Did anyone notice that Charlie made 2 of his best (maybe his best) pictures one after another, both directed by Michael Winner (who did some more nice entries in the Bronson catalog), both scored by Jerry Fiedling (superbly, if I may add), "CHATO'S LAND" and "THE MECHANIC" (from whom Tarantine chose to quote in "Kill Bill II") ??!! I must have watched both movies app. half a dozen times and they seem to get better with every viewing (despite knowing its ending)!

First, these are films made for men, not children or family-viewing. And let's be honest, if you wanna see a good, though, well played movie today, what you're gonna do?? Certainly not go to the cinema, were you see noisy, trashy high-budget trash in a row. You buy yourself a DVD or watch some late-night viewing of a 70ies movie on TV! And these two movies are certainly as good as it can get!

Second, these movies are more less silent! You don't hear some silly dialog through it all, but just men saying a few words, when it's really needed. Those people, who talk a lot in such movies, are happily the first ones that gonna be shot (and it's good this way)! Everybody's always pointing out who little Arnold is saying in "TERMINATOR" (of course the first one), a real good movie, too! Well, get yourself CHATO'S LAND. In the German dubbed version good old Charlie (God bless him!) spoke less than 10 words in German and maybe another dozen or so in some tribal language, that's it! I'd take a bet that there is most likely no other non-silent movie every made, in which the hero says as few words as in this one!!

And while we're at comparing it to Schwarzenegger/Terminator, did anybody notice those MUSCLES of Charlie??!! And these are certainly no anabolic-stuff, but real hard & honest earned ones! If we'd take Charlie in his prime (when he made this one, he was HALF A CENTURY OLD = 50 years!!!) and compare it to Schwarzenegger, when he was 50 not that long ago ... I'd say Charlie would have wiped the carpet with him, should there have been any reason for an argument. I'd just wish I'd have looked that well, when I was 30, not to speak of being 50 (not yet).

The guy is just SO COOL in this movie as well as in THE MECHANIC (and many more in fact))!

OK, I hear the critics saying, this is just a "silly" revenge-movie (note: made before DEATH WISH I !!). Nope, it ain't !! First, it's not that important, what the story is, what really counts is how it is delivered: movie-experts doing what they can at the highest level! It's just GREAT to watch them delivering all the expected scenes without getting whimsical, talky or making compromises. This is a men's movie made for men! And second, it's not stupid at all! Why does everybody has to go on his knees in front of authorities (the sheriff)? Esp. if you're part of a badly treated minority! He's on his own, when a big crowd invades HIS LAND (like the USA did in Vietnam) and he wipes them off. He knows the land better than everybody else, he's trained and intelligent (the followers are more stupid, but not completely), so he does what he has to do. At the end the winner is logical and probably that's the movie, Mr. Bush should have watched before entering the Iraque ...

OK, back to the movie. What about the acting? Wooden??? Come on, it ain't, it's just perfect for this movie!! Would you like to see some what-they-call-"actor"-today (say, Adrien Brody, who wasn't too convincing in KING KONG either) delivering this?? It would just be "strange"/ridiculous. And the other members of the crew? Just perfect! Palance, superb (as always, but he should have avoided City Slickers), Basehart and Whitmore, great! Just the kinda support crew one needs and which is simply non-existent today (and which is sadly missed!).

One critic complained about the "cheap look" (??) of the movie, and that it must have been inexpensive to make. Well, so what? First, blockbusters suck anyway, every 2 minutes an explosion is just noisy and boring (but obviously expensive) anyway and the scenery is in fact superbly chosen! It's just THE MAN, the scenery and his doomed followers. The land is as bleak as the fate of the followers/hunters. It's empty, it's pure, it's honest, it's something for "desert-rats". :-)) So to sum up: you can't chose better for a great action movie of the 70ies (and that'w when most of the great actions movies were made!).

Moreless the same can be said about THE MECHANIC: tough, not-talky, thrilling, superbly shot and acted, great support cast, too, and what an ending !!! I'd LOVE to see these out on DVD with much bonus material (scenes from the set, one of Carlies too rare interviews: well, the guy stayed silent when there was not much too say, smile, although I would love him to still be among us and write some great autobiography!)!

What a loss, but then again he's hopefully having superb times, wherever he's now!

Charles Bronson and director Michael Winner made the first of several films together in this western that was shot in Spain. Chato's Land boasts a fine cast of players most of whom don't make it through the end of the film.

Bronson plays Pardon Chato a mixed blood Apache just in town for supplies and a racist U.S. Marshal puts the prod to him. That's a big mistake as Bronson kills him in self defense. A bunch of self righteous citizens get up a posse after him. Their brand of justice includes raping his wife and killing his child in the bargain.

Jack Palance plays the nominal leader of the group, but he's got no control over the meanest of the bunch, a trio of brothers Simon Oakland, Ralph Waite, and Richard Jordan. Others in the party include James Whitmore and Richard Basehart.

Charles Bronson is always a nasty man to cross, never more so when on his own turf as he is in the Arizona desert. Bronson has honed this character to perfection. It's no accident that Winner was the director in the first three Death Wish films. Elements of this same plot are also to be found in a particular favorite Bronson film of mine, Mr. Majestyk.

Chato's Land is a good western with an impeccable cast. I do so love that sudden death ending in this film.

Maybe I'm being too harsh on this movie but being a big Bronson fan, I was really disappointed- not to mention bored to tears. The seemingly never-ending chase interrupted by brief moments of Bronson firing down from a hilltop on the chasers left me begging for the movie to end. The brutality seemed sensationally placed to hide the hum drum plot. I got so tired of hearing one of the chasers say something ominous like, "I don't like the looks of this", it started to become a joke. Maybe I just wasn't in the mood for this type of movie but it's hard to think that I will ever attempt to watch it again. It was surprisingly bad considering the entertainment value of other Bronson movies.

There's a little in-joke that's included in Pardon Chato's (Charles Bronson) only line spoken in English; and that occurs in about the second minute of this savagely entertaining story about vigilantism running amok somewhere in the Old West.

We see Chato, at the saloon bar, waiting to get his whiskey when in comes the local Marshall Endersby (Jacob Meade), looking to kill himself an uppity mestizo. So, here's the in-joke: just before the Marshall draws to shoot, Chato says: "Back off, lawman!" Then he spins quickly, shooting from the hip to kill the Marshall. It's a joke, because the director, Michael Winner, in 1971, had already filmed a story called Lawman (by the same screen writer, Gerald Wilson) in which a Marshall hunts down a group of men – relentlessly, mercilessly and legally. (Note that Lawman is more highly regarded, at IMDb, than Chato's Land.)

Anyway, the story of Chato is double joke: here, the Marshall is out of the picture (no pun intended) immediately, and the hunters – the Posse Commitatus, a mixed bunch of misfits headed up by either ex-Captain Whitmore (Jack Palance) or Jubal Hooker (Simon Oakland), depending on how the plot unfolds – become the hunted when Chato begins the task of killing them – relentlessly, mercilessly...but, illegally, in this story. Oh, Chato has the moral high ground, many would argue; but, objectively, any court would find him guilty of manslaughter at the very least. And, man, what a slaughter it is! But, this is the Old West, where just about anything goes.

The story has many antecedents (about which Winner and Wilson would have been well aware): The Bravados (1958) with Gregory Peck as the hunter; Hombre (1967) with Paul Newman as the despised mestizo; and Valdez is Coming (1971) with Burt Lancaster as the hunter, and a Mexican to boot. You could probably add to that list. This film adds to it, of course, as being just another take on the good, ol' American pastime of vigilantes racing off to git themselves a hangin' afore nightfall, if possible. In that regard and if you have seen it, you shouldn't miss watching the heartbreak in The Oxbow Incident (1943) with Henry Fonda, heading up an all-star cast, who tries to stop the west's favorite method of dispensing rough justice.

The best part about Chato's Land is the land: the stark, unforgiving country that Chato uses to his advantage. Winner makes good use of long, wide angle shots to emphasize the harsh, bleak landscape; but, his studied close-ups of the characters are often almost works of art. Of the cinematography, I can only complain of the lighting – a good lot of the shoot was completed in pseudo-darkness, using blue filters, no doubt, and was quite annoying at times. Editing is up to par, though, and Jerry Fielding's music is suitably moody – although, I could have done without the military-type snippets.

After speaking that one English line, Chato sticks to Apache, or is silent throughout, as he gets on with his task. So, it's nice to see a man happy in his work, and who doesn't bother us with useless talk.

Highly recommended for all fans of Bronson and Palance.

Chato's Land is directed by Michael Winner and written by Gerry Wilson. It stars Charles Bronson, Jack Palance, James Whitmore, Simon Oakland, Richard Baseheart, Ralph Waite and Richard Jordan. Shot on location in Andalucia, Spain, with photography by Robert Paynter, it's musically scored by Jerry Fielding. Plot finds Bronson as half Apache, Pardon Chato, who is forced to kill the local sheriff in self defence and finds himself being hunted by a town posse led by Captain Quicey Whitmore (Palance). However, as the posse trail him into the wilderness it becomes apparent that the tables have been turned, with Chato given further cause to inflict harm upon his pursuers.

The first of six collaborations between Charles Bronson and Michael Winner, Chato's Land finds the pair setting the marker for what would define their work. With the Western genre going thru a resurgence, Chato's Land is very in-keeping with the type of Western that was being released in the early 70's: namely violent, uncompromising and certainly gritty. These things, as history now shows, were tailor made for Winner, who perfectly utilises Bronson's silent and brooding assets to great effect.

Often suspected to be an allegory of the United States' involvement in Vietnam, it's thematically correct in that respect. But the timing of the film would suggest this to not be the case. Chato's Land is more than just a revenge Western; a film about white men out of their usual terrain being pursued by a man of a different ethnicity, it wants to, and does quite well, be a picture dealing in racism, violence and the folly of hypocritical justice. But even tho Wilson's script brings these issues to light, they are not fully formed, with Winner at times dragging the film to a stand-still. However, the group dynamic is a good one, with the inevitable character differences creating a tinderbox waiting to ignite, while Winner doesn't skimp over the violence, puncturing the narrative with savage thrusts.

Bronson was 50 years old when making the film, his physicality here is very impressive. The role of Chato is hardly a stretch for him, in fact it's very much a perfect fit. He's basically asked to be a phantom in the landscape, but he casts an imposing presence each time he's called on to deliver some Chato justice. In pursuit are a mixed bunch of actors, with Palance, Whitmore and Baseheart the obvious professional standouts, while Simon Oakland leaves an indelible mark as grizzled father of the Hooker boys, Jubal. Fielding's (The Wild Bunch) score is efficient, but workmanlike, and Paynter's (Lawman) photography never really makes the landscape as imposing as it should be. Overall it's a mixed bag, but for fans of revenge type Westerns, and Palance, it's easy to recommend, but it still should have been more intelligent than it ultimately is. 7/10

You don't mess with Charlie Bronson, period. Anyone who does must have a Death Wish, ha! Since that is already an obvious and commonly known fact, I assume it goes without saying that you definitely don't mess with Charlie Bronson when he's half Apache and moreover running wild on his own familiar turf! Even if your name is Jack Palance, and thus your notorious reputation states you're one of the biggest badass actors in the history of cinema, you still don't get into trouble with the Charlie Bronson! Anyway, Jack Palance and a dozen more courageous but stupid horsemen accepted the challenge and it became a gloriously entertaining and ambitious – albeit slightly flawed – early 70's western. When Chato kills the Sheriff out of self defense whilst passing through a little cowboy town, he finds himself relentlessly pursued by a vengeful posse, led by the frustrated former Army captain Quincey and including several low-classed and racial farmers. He lures them deep into his familiar land, the dry and daft deserts, and attempts to scare them off in "friendly" ways. When the posse stubbornly persist and eventually harm Chato's family, he fights back with a bloody passion.

Michael Winner has always been one of Hollywood's most hated and criticized directors but, quite frankly, I personally never understood why that is. Undeniably his movies are extremely violent, on the verge of gratuitous and provocative even, but at the same time they always feature solid basic story lines and admirably confront the viewers with socially relevant issues. Not to mention the fact Winner's flicks are, without exception, fast-paced and adrenalin-rushing tornadoes of action and excitement. Especially the six films Winner made with Charles Bronson (of which "Chato's Land" is the first) are unhinged crowd-pleasers that guarantee non-stop spectacle with a minimum of tedious dialogs and pointless sentimental interludes. We all know Charlie isn't exactly the most eloquent acting star, so Michael Winner instantly knew the character of silent but deadly (Chato only mumbles a few lines in Apache language throughout the entire film) Indian would be ideal for him. The true acting star of this movie is Jack Palance, who provides his character with a lot of depth and intellect. As a military man of the losing camp, Quincey Whitmore represents all the oppressed hatred, rage and humiliation of the Southern region. You even grow to care for him near the end, even though he initiated the manhunt against Chato for all the wrong reasons. I've actually also encountered a couple of reviews claiming that "Chato's Land" is, in fact, one giant allegory on racial conflicts, the senselessness of violence and discrimination. Okay, perhaps that might just be a little too much praise, but I guess it definitely could be interpreted that way. None of the posse members actually chase down Chato out of sympathy for the murdered sheriff. They each have their own reasons, from pure racism to political strategies, but nobody ever raises the possibility of solving conflicts through conversation. Whoever claimed Winner films were superficial and sensational?

Purely talking in terms of cinematic quality, "Chato's Land" is definitely lacking. The screenplay is very incoherent and too often leaps from one crucial moment onto the other unstructured. Fairly long periods of slowness are too brutally interfered with two or three flashes of savagery and mayhem and the guys in the editing room did a downright horrible job. The soundtrack is a big disappointment, as I always automatically expect mesmerizing music in westerns (I blame Ennio Morricone for that…), and the breathtaking landscapes are still underused in my humble opinion.

Cold calculating Resilient with Presence .Bronson hits the mark again in this terrific Western Tale

I loved the theme of this film. A group of mouthy, arrogant, drunken hillbillies go after a man for killing someone in self defense. They are foolish enough to chase him into his own terrain where he has the advantage. One of Bronson's best.

Chato's Land is the second of two westerns directed by Michael Winner in the early 70's, the first being Lawman. Many of the actors who appeared in Lawman are also in Chato's Land. Chato, played by Charles Bronson, is pursued by a vengeful posse after killing a lawman, who provoked him. But he turns the tables on them and soon he is hunting them, and they know it. The posse is led by Captain Quincy, a former Confederate soldier played by Jack Palance. He is basically a decent man who respects Chato, but is unable to control his men, and this has fatal consequences as Chato gradually picks them off. The posse end up trapped in Chato's Land, and the climax sees the last survivor trying to escape, but Chato won't allow him to, and he has no choice but to go back. I really like this film. Recommended.

Charles Bronson, in extraordinary physical shape, plays a quiet Apache in an apparently hate-mongering Old West town who kills the despicable white sheriff in self-defense; he doesn't stick around to explain his actions, of course--and the bartender who witnessed the shooting certainly isn't talking--prompting a prejudiced posse made up of hard-bitten locals to go after the Indian over rough terrain on horseback. Although beautifully-shot by Robert Paynter, and with several surprisingly literate passages in Gerald Wilson's screenplay, this dusty, grizzled western is all on one-note. It would be difficult to find another movie with as many loathsome characters as the ones we get here, which naturally puts the audience completely on Bronson's side (this, one presumes, the ultimate purpose). Distinctly unlikeable, nevertheless, and awfully long (and obvious) at 110 minutes. ** from ****

Chato is a half-breed Apache Indian who shoots a sheriff in self-defense while in town and finds himself the target of a head hunting posse led by a former Confederate soldier Quincy Whitmore. They track Chato into his own harsh territory and they soon find that the tables have been turned. As now they're the ones trying to survive, while being picked off one by one by Chato and braving the rough elements of Apache territory.

This was the first feature to bring the pairing of director Michael Winner and actor Charles Bronson together (in which they would go on to make another five films). "Chato's Land" is just like any other Winner exercise. This straightforward western tale comes across as crass and rather offbeat in its mean-spirited tempo and bloodthirsty violence. Thanks mainly to Winner's always daring and hard-boiled direction, which is always more workman-like than glitzy. Direction wise, two solid lead performances (Bronson and Palance) and the intrusive handling of transporting you amongst blistering bone-dry location is what keeps one interested. This is because the efficiently simple cat-and-mouse plot (hunters eventually become the hunted) has very little structure to it and is tied along by airy pockets that can slow up the film's momentum. Within the bold context is a passionately thoughtful, though quite blunt message that you could interpret about the intolerance of racism (just listen to the crude dialogues that the thickly verbose script spits out) and an allegory on the Vietnam War (with the men under-estimating their man on his turf). The characteristics between the hunting party (behavioural changes and the character's turning on each other because of the stressful nature they are put into) are reasonably dynamic, with it sometimes getting rather sidetracked from the central focus of the narrative. The dialogues between them are quite heavy, but on the other side of the coin. Charles Bronson gets very little to say (even using some Indian tongue), but still feels nicely fleshed out and tells the story with simple facial expressions and actions.

When Winner wants to get down and gritty, the elaborately relax pacing is broken up by excitingly sudden short bursts of conflict and the tense finale is perfectly fitting. Even a few surprises are illustrated into the dying half of the picture. The isolated atmosphere of the barren location only adds more to the anxiety created by their situation and there are stunning images captured on screen. The camera-work does get some singular shots interwoven within its sturdy foundation. A vintage sounding music score has that potently loud western twang that drenches the film with the right air. The performances are all particularly good. A terrific Jack Palance gives a classy stable depiction of Quincy Whitmore and Charles Bronson was in ripe condition and form as Chato. Making up the marvellous assemble were James Whitemore, Simon Oakland and Richard Basehart.

A competently well-focused and quite brutal western that in the long run is nothing to get too worked up about. In saying that, it's better than the norm.

I enjoy this movie. In 1971, director Michael Winner and writer Gerald Wilson combined for Lawman, in which Burt Lancaster's Marshal Maddox hunts down a group of men. In 1972, Winner and Wilson again paired for Chato's Land, in which Charles Bronson's Chato hunts down a group of men. Ralph Waite, Richard Jordan and William Watson were among the unfortunates in both films.

Both are good films. But what is unique about Chato's Land is that the movie is carried almost entirely by the supporting cast. Though billed as a Charles Bronson movie, Bronson's role is actually quite small. He has very few lines and is seldom even seen. We know the posse is being stalked by a generally unseen Apache. In the few scenes where that Apache is on camera, it is Bronson. But that role could even have been played by an unknown actor without affecting the quality of the movie.

In actuality, the movie is about the posse. The lead roles are Jack Palance and Simon Oakland. The principal supporting roles are played by Ralph Waite, James Whitmore, and Richard Jordan. The posse also includes familiar faces in Richard Basehart and Victor French. The personalities of the posse are well drawn out. The movie is essentially about what happens to them as they go from hunters to hunted. The actions of some of the posse members when they attack a woman are horrible. The others are at fault for not stopping it, even though it disgusted them. All paid a price.

Some are evil, some are noble, some are weak. Palance's character is interesting. He is a respected former confederate officer who assumes command of the posse but slowly comes to realize he has no control over these civilians and watches helplessly as things disintegrate around him. Oakland's character is the most vile, violent of the group. He seems to endorse Palance as the posse's leader only as long as things are done as he wants. And it is interesting when Palance quietly realizes that it is actually Oakland, and not himself, who is the real leader of the posse, at which time he avoids a confrontation and continues to act as the posse's leader by doing what he knows Oakland wants him to do. It is a well crafted script.

Bronson is on screen only enough to remind us that he is in the film. Had the movie been accurately billed as a film starring Jack Palance and Simon Oakland, with Bronson in a small role, few would have paid to see it. Which would have been unfortunate because it's a good movie.

I was never so disgusted with a movie, because there is real slaughtering of animals here and animals suffered in the making of this movie:

• A chicken gets its head slowly cut off. I thought the chicken was dead before, but another person I was watching this movie with said that it was moving. Either way, it's sick and cruel. I have no appetite for meat anymore after seeing this.

• A dead goat hanged upside down is disembowelled, close-up of the knife cutting the goat.

• A snake is disembowelled, you see the guts.

• You see dead horses lying around.

• As typical in many Westerns, horses are falling, some brutally.

When I watch a movie I want to be entertained, not disgusted and traumatized by real-life violence against animals. Also, no animal should be killed or suffer for the making of a movie. The plot doesn't matter anymore at this point, I would give zero stars, but unfortunately I'm forced to give at least one.