Chato's Land

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.

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

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.