Invito ad una sparatoria

This is an underrated western with a great moral lesson about both racism and judging too quickly from appearances. The townspeople led by Pat Hingle in this northern leaning western town hire Yul Brynner to gun down George Segal who has returned from the Civil War after fighting for the Confederacy. George Segal has come back to claim his land and his woman, each of which has been taken by another.

AS the movie progresses it's slowly revealed that the Union leaning town is not what it seems to be. Pat Hingle plays a politician very common for 30 years after the Civil War, adept at what they called "waving the bloody shirt." Just demagogue away at who did what and where during the war and ignore the current issues both social and economic.

During the course of The Magnificent Seven, Yul Brynner's Chris Adams is referred to as a Cajun. Here he's given a proper Cajun name of Jules D'Estaing and when his secret is revealed, a whole lot of people in that town have to confront their own prejudices.

Makes for worthwhile viewing.

A modest little matinée western with little in way of style with its methodical direction, but leading the way are the strikingly prominent performances from Yul Brynner, George Segal, Pat Hingle, Janice Rule and backing it up is a lyrically well-oiled script stringed to a customary, but accessibly gripping premise that patiently builds upon its unfolding situations.

A confederate solider Matt Weaver returns back to his small town after the civil war to find out his home has been sold by the dominating town boss Sam Brewster. Causing a ruckus, Brewster hires the interestingly mysterious gunfighter Jules Gaspard d'Estaing to take care of Brewster; however Jules gets caught up in the devious shades of a town run by corrupt figures.

The way the story pans out is thoughtfully projected and the framework delivers it in an unconventional manner with some psychological interplays. The way the steely protagonist uses the situation to gain what he wants and hand out much needed justice within the shameful town simply holds you there. It's literally chatty, but never does it outstay its welcome. A sternly defined Brynner is outstanding (as the camera magnetically follows him around) and likewise is a booming Hingle. When the action/shoot outs occur they're rather sparse, but toughly staged despite its obvious studio bound sets.

One of those Westerns in which the townspeople come to wish they hadn't hired a gunslinger to do their dirty work. I had suspected that the version I saw on TV had been edited to squeeze into programme schedules, but this website gives the running time as 92 minutes and the TV slot (including commercials) was 105 minutes. One moment Matt Weaver has stormed into the night, furious that in his absence his home has been sold, the next he's become a feared outcast who's killed a man, instantly becoming such a threat to the townspeople that they have to hire a gunman. OK, the town has lost many of its men to the Civil War, but surely its citizens could muster enough courage and guns to do the job themselves? Brynner produces a sinister screen presence and dominates the cast, many of are low key. And several plot elements are understated; racism there may be in the town, but this is only evident when the hotel owner suggests that d'Estaing might be better suited seeking a room in the Mexican quarter; there's been many a better portrayal of a corrupt town boss than Pat Hingle's; and the lady to whom d'Estaing returns her pawned jewelry looks a bit too elegant to be down to her last dress.

d'Estaing's drunken rampage through the town came as a shock; the place must have been typical of many of the postbellum period, and its racism, venality and corruption as portrayed in the film didn't seem to justify a hired assassin's rage. It would have been better had d'Estaing been exposed to more overt racism than a patronising suggestion that he finds accommodation in a Mexican establishment.

No great surprises in the ending, but again it wasn't convincing when the Anglo-Americans united with the Mexicans in a gesture of respect.

Take away Brynner and this would have been an extremely average Western.

Largely on the strength of 'Al Capone' (1959), director Richard Wilson was considered sufficiently noteworthy during the mid-sixties to rate an entry in the Thames & Hudson 'Encyclopedia of the Arts' (1966).

This talky, awe-inspiringly pretentious 'adult' western (scripted by Wilson and his wife Elizabeth) that a few years earlier would have signalled it's seriousness by being in black & white (like 'High Noon' or '3:10 to Yuma') is instead shot in incongruously pretty colour by veteran cameraman Joe MacDonald on the Universal backlot, where Brynner later trashes the already flimsy-looking sets with suspicious ease.

Based on a 1957 TV play, it was made too early to be influenced by Sergio Leone, but was obviously influenced (as was Leone himself) by the samurai films of Kurosawa.

The cast was largely recruited from TV and the New York stage, some of whom - like George Segal and Strother Martin - became more familiar a few more years later; while David Raksin's woodwind score lingers in the memory.

"Invitation to a Gunfighter" is a film searching for a consistent tone. By turns it's stilted, silly and melodramatic, and the result is mostly just confusing. The kernels of a very good movie are present, but often left "unpopped." For example, the town is initially portrayed as morally upright, and Brynner's character as amoral, and the film tries to flip this on its head. The trouble is, we rarely see anything to prove this; instead, we're forced to fill in the blanks ourselves from sparse pieces of (vague) dialogue. The story is so buried in subtext and so much is not shown that scenes like Yul Brynner's drunken rampage is robbed of its dramatic potential because we haven't seen anything that would seem to justify it. On it's own, that could have been a powerful idea, since Brynner's character is given a back-story like nothing these townsfolk have ever known, but in that case, the movie devotes far too much time to the troubles of the townsfolk instead of focusing on Brynner's inner turmoil.

The acting is all over the board in this one, as well. Brynner's performance can't be faulted; he's his usual simmering, silent presence, but seems miscast in a role which could have been quite interesting if it weren't so poorly-written. Janice Rule seems confused in her role as Ruth Adams (and well she should be, forced to serve as the love interest between--count them--three men, all trying to kill each other at some point or another), and spends most of it looking vaguely sad and disinterested, and Pat Hingle is neither evil enough nor serious enough to make a compelling villain. Clifford David fares better as the perpetually angry Crane, and George Segal, as the unfortunate Matt Weaver, is just about the only member of the cast that seems to have any idea what he's doing. The rest of the townsfolk are a mixture of clichés and stereotypes that make it seem as though Yul Brynner mistakenly wandered onto the set of "Blazing Saddles." Brynner's presence, and the multi-layered, operatic scale of the plot might warrant repeat viewings, and the film should be credited for trying to tackle weighty issues of morality and racism, but ultimately "Gunfighter" misses its mark. The classic mantra in storytelling is "show, don't tell," and this film doesn't do that, rendering what should have been a very good movie into a very mediocre one.