Les collines de la terreur

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.

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

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 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.

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