Le shérif ne pardonne pas

This is one of those films that lovers of the Western genre ought to rent on video. They will discover a treasure of the past that is well worth a watch. Like most Westerns, this film is set in the 1870s American southwest. The story of vengence is common in Western films, and this particular tale is extremely brutal. The post civil war Southwest was a violent place full of vigilantism and crime. Men of the West with morals and a sense of social responsibility always served as easy prey for bushwackers.

The Deadly Trackers is focused on two men who share an over-developed sense of justice. They are both sheriffs, and they both embraced the importance of the law. One of the sheriffs loses his family, however, and his ideals die with them. The best part of this film is the relationship that builds between the two sheriffs as they hunt a small band of bushwackers. Richard Harris's character is the embittered sheriff bent on vengence. His character sinks into being as cruel and violent as the men he hunts. The Mexican sheriff, who lacks personal loss, maintains an ideal sense of keeping law and order. In the end, Harris's character regains his values for upholding the law only to see justice slip out of his grasp. The Mexican sheriff remains constant in his efforts to enforce the law only to provide for a lack of justice. The result is a dark tale about the nature of mankind on the frontier.

A very uneven film, filled with a "a bit of the olé' ultra-violence", shows its troubled production and finally emerges as a curios and a signpost of the changes in Hollywood that were still evolving and not without pains.

There is a vastness to the production with a gritty feel, children in distress and some really despicable characters. The Hero's change of heart from pacifist to killer is abrupt as are some of the other plot devices that take a backseat to the carnage and and mayhem.

It does have a memorable feeling to it that seems to stem from the movie's outrageous flourishes and one wonders if this was probably the best they could cobble from all the changes in Directors and other on the set strife. The good cast, however, are all in top form.

After all, it is recommended for fans of Westerns and movie chronology. It is a definite piece of postmodern cinema that is having difficulty (although not always aware) finding its niche and as a lot of seventies films show, it was not an easy transition as the art-form was released from over thirty years of repression.

The Deadly Trackers was to be directed by the author of the original story, Sam Fuller. He was replaced by one or two other directors (identities unknown) and it was up to the dependable Barry Shear to complete the film. The opening sequence of stills and voice-overs is a liability to the overall film. My guess is that Shear, due to the chop and change of previous directors, had cobbled together pieces of their unfinished work. I would appreciate clarification of this from someone who knows. The importance of the opening sequence is that it establishes the motivation for the entire film. The violent shattering of this close-knit family drives the action - and should have given the viewer a greater appreciation of Richard Harris's despair. Otherwise Shear's film is an excellent thought-provoking western with an excellent performance by Al Lettieri playing the sheriff as the revenge-seeker's conscience. Vigilante theme worth comparing to films like Dirty Harry which was released two years earlier and set a trend in American cinema.

Memo: Whoever wrote the line `He shot the roses from her cheeks' should have been shot himself.

The big surprise in The Deadly Trackers is Rod Taylor's emergence as one mean and nasty villain here. Although he had played a bad guy early in his career in Hell on Frisco Bay as a contract killer, the public was used to Rod as the civilized fellow bringing a sense of order to a future world in The Time Machine. He's anything, but civilized in The Deadly Trackers.

Richard Harris is a sheriff with some rather strange notions about capture instead of killing in a lawless land. Rod Taylor and his gang rob the bank in Harris's town and kill the bank manager on a whim. Then when Harris tries to capture and use reason with Taylor, Harris's wife and son become dead also.

That gives our sheriff a whole new outlook and he hunts the gang into Mexico where he teams up with a federale played by Al Lettieri who has all the ideas Harris used to have.

This was the farewell performance of Al Lettieri and interesting that he went out as a good guy here. He created a great group of villains in The Godfather, McQ, Mr. Majestyk, and The Getaway. He was a great talent.

Some attention was paid to the fact that Harris is an Irish sheriff and for that matter Rod Taylor is Australian. But America is in fact a nation of immigrants and this should be no stranger than Errol Flynn's emergence as a western star in the heyday of the studio.

After The Wild Bunch had pushed back a few boundaries in terms of violence, especially within the western genre, there followed a spate of similar westerns. Billy Two Hats, Chato's Land, The Hunting Party, The Revengers and The Last Hard Men were among the front-runners. Also on any list of brutal '70s revenge-westerns would be The Deadly Trackers, originally planned as a Samuel Fuller movie but completed by Barry Shear after Fuller quit the project. This violent, bloodthirsty film is, alas, somewhat disappointing.

Irish sheriff Sean Kilpatrick (Richard Harris) looks after the Texas town of Santa Rosa and has made a point of solving crimes and capturing criminals without resorting to violence. In fact, he has never in his life fired a gun in anger, yet has somehow fostered total law, order and respect among the townsfolk. His methods are tested to the limit when outlaw Frank Brand (Rod Taylor in a surprisingly sadistic performance) and his gang rob the local bank. During their escape attempt, the outlaws inadvertently kill Kilpatrick's own wife and child. Devastated, Kilpatrick ditches his anti-gun, anti-violence attitude and pursues Brand and his cronies. The chase leads to Mexico, where Kilpatrick has no official authority and is viewed as little more than an outlaw himself. The Irish sheriff tracks down and kills Brand's gang one-by-one, until just he and Brand remain.

Just a year earlier, Barry Shear had made the film Across 110th Street, regarded as the most violent movie ever made up to that point, so it's perhaps no surprise that this film emphasises the gore and brutality to the extent it does. Harris is quite memorable as the Irish sheriff, giving another of his energetic performances, and Taylor's villainous turn reveals an ugly side rarely portrayed by the actor in his other films. However, in most aspects The Deadly Trackers fails to make the grade as a good, worthwhile film. It is far too simplistic for its own good, with no resonance beyond the immediate plot (and the plot itself is pretty basic, being nothing more than a straightforward chase narrative). The supporting performances are generally rather lacklustre, possibly because none of the characters beyond the two principal players carry much depth or interest. Also, the story is dismayingly familiar, with precious little that it fresh or original; just lots of tired and predictable scenes that have been begged, borrowed and stolen from many other sources (even the music is lifted directly from The Wild Bunch.... perhaps to keep the budget down?) On the whole, The Deadly Trackers is a dismal misfire in which the detail to violence and the intriguing lead performances are the sole points of interest.