Sledge

Although there are a lot of familiar "television" names associated with "A Man Called Sledge", there is nothing extraordinary about the film itself or about any of the performances. In fact, the only thing that distinguishes it from a 1960's-70's television series like "The Rat Patrol" is a bigger cast and a lot more violence.

James Garner is the biggest star and apparently thought he should try to break away from all the light comedy stuff he had been doing ("Maverick", "Support Your Local Sheriff"-"Gunfighter" etc.). Unfortunately his earthy likability works against him, as Sledge is a humorless character written to cash in on the popularity of Clint Eastwood's spaghetti western character. But Eastwood's stuff was not this flat and uninteresting.

I suppose that "A Man Called Sledge" could be classified as a spaghetti western although the pacing is too slow to really fit that sub-genre. Fans of the slow-paced "Combat" television series will feel an instant connection as Vic Morrow directed the film and co-wrote the script with Frank Kowalski. Throw in some then trendy slow-mo shots and cross-dissolves, which call attention to themselves rather than serve a story-telling purpose.

The plot is the standard "big heist" thing (insert "The War Wagon" here) with Sledge plotting how to heist a $300,000 gold shipment. His gang includes Claude Akins and Dennis Weaver. The problem is that while on the move the shipment is guarded by 40 outriders and while stopped it is locked in a vault inside the territorial prison. I think there was an episode of "Alias Smith and Jones" with the same plot.

The story would make a decent hour of television but gets old very fast as a very padded feature length film. Garner does not allow any of his charm to leak into his characterization and the film does not generate enough suspense to hold a viewer's interest.

The thing finally crashes and burns shortly after the heist when the gang engages in a contrived and totally illogical card game.

Then again, what do I know? I'm only a child.

Released in 1970 and directed by Vic Morrow (and Giorgio Gentili), "A Man Called Sledge" stars James Garner as the leader of an outlaw gang, who experience gold fever after hearing about a cache of gold temporarily stored at a desert prison. They hatch a harebrained heist, but things go awry due to their greedy obsessions. Dennis Weaver and Claude Akins play members of the gang while John Marley appears as an old man who joins them. Laura Antonelli is on hand as the striking babe while Wayde Preston appears as the sheriff.

Aside from his TV work with shows like Maverick and Cheyenne, Garner only appeared in nine Westerns with just four being serious Westerns (rather than comedy-tinged Westerns). "A Man Called Sledge" was the last of those four and his character, Luther Sledge, is a far cry from likable gambler Bret Maverick or heroic Jess Remsberg in "Duel at Diablo" (1966) or the determined Wyatt Earp in "Hour of the Gun" (1967). Even as an outlaw, though, Garner still has his genial charm, but when innocents start dying due to his lucre-hungry schemes he pretty much loses all sympathy. And his band of owlhoots get zero sympathy from the get-go.

While often referred to as a Spaghetti Western, "Sledge" is actually a Dino De Laurentiis production with an American director/writer (Morrow) and main cast, but shot in Spain with Italians and other Europeans in peripheral positions (cast & production); for instance, the Spaghetti-flavored music by Gianni Ferrio.

The movie comes across as a mish-mash of Sergio Leone Westerns, "The War Wagon" (1967), "Mackenna's Gold" (1969), "The Wild Bunch" (1969) and "There was a Crooked Man" (1970). But with a few imaginative elements, such as the wintery opening, which is rare for a Western, and the funeral component at the Mexican village in the final act, not to mention the quirky late 60s-ish theme song repeated throughout. Also the opening gunfight in the saloon is thrilling and I like how the film closes with a pretty moving moral. It's even haunting. Unfortunately, the movie features some clumsy editing in the third act starting with the card game and the immediate aftermath.

The film runs 93 minutes and was shot in Almeria, Andalucia, Spain, and Rome (interiors). WRITERS: Morrow, Frank Kowalski & Massimo D'Avak.

GRADE: B-

If you have read my profile I am a huge fan of Spaghetti Westerns, Film Noir, and Italian Giallo..this film has a mixture of all 3....in many ways this film does not look like a Spaghetti Western, almost like the recent film Open Range about average cowpokes who are very human and have to get by the best they can....Soundwise it is a very Spaghetti i.e. the high-pitched carbine sounds of the weapons and in an Italian Western it could be anything from a Derringer, rifle or Gatling Gun or even a small cannon, but that is what gives the Spaghetti Western its own identity, like bad effects are novel for a Godzilla film....anyway the storyline is very nourish especially James Garner who is quite excellent in this atypical role of a ruthless and merciless outlaw.....The Giallo comes in at 2 points, the creepy and ghoulish way one of his men ride thru town sacrificing his life shooting from his horse a la EL CID...and all 3 of the genres in the latter 3rd of the film.....the score by Gianni Ferrio is quite moody and hip for its day, today it is a little dated, but hey I like dated, again it gives it an identity...I am very proud to own the film finally on DVD in its original widescreen format of 2:40 to 1 ratio....and I enjoy anything that Dino De Laurentiis has produced, from Ulysses 1954 to most recently RED DRAGON with Anthony Hopkins...if you are a Italian Western buff I highly recommend this film..p.s. this film was shot in English but as most Italian productions most of the audio is Post Production, that explains why actors like Tony Young was evidently not available for post ADR and they had to re-voice it with another actor....

A Man Called Sledge is directed by Vic Morrow and Morrow co-writes the screenplay with Frank Kowalski. It stars James Garner, Dennis Weaver, Claude Akins, John Marley, Laura Antonelli, Wayde Preston and Ken Clarke. Music is by Gianni Ferrio and cinematography by Luigi Kuveiller.

Luther Sledge (Garner) is a wanted outlaw who upon hearing about a huge gold shipment stored in a prison, promptly assembles his gang and sets about executing a daring robbery.

A Pasta Western filmed in Technicolor/Techniscope out of Andalucia in Spain, A Man Called Sledge is a most interesting and entertaining addition to this splinter of Westerns. From the off we are in no doubt that Garner is serving up a character not of his normal portrayal varieties, here he's not heroic, all American or a lovable rogue, he's a bad egg, gruff, rough and tough, and driven by law breaking activities. Added into the mix is a rather cheeky premise, that of gold being stored in a working prison, which is naturally heavily fortified, protected and seemingly impossible to breach, but Sledge and his cohorts have other ideas that gives the narrative and dramatic drive much strength.

You couldn't take it with a pope!

In spite of the odd flecks of humour, such as a terrific organ sequence and Akins' constant cynical asides (both orally and visually), pic is grim in texture, there will be blood and the unfurling of other hateful human traits. Morrow knows his Pasta Oaters, both as regards visual ticks and via characterisations. So we get camera zooms, low level up-tilts and spins, while the characters range from the foolish to the greedy - to the twitchy and the dumb - and even a howling man! The story plays out through differing back drops, be it a snow storm, an arid landscape or a sweaty bar - not least the imposing prison at the centre of the plot - Morrow is taking his story through visual variations.

I would have died for you Sledge!

There are a number of great scenes to enjoy, usually where action is concerned, not least the quite exhilarating show-piece involving a jailbreak, where here we are treated to top stunt work as dynamite and a Gatling Gun join the usual bullets and blood carnage. Cards are a big feature, as are crosses - cum - crucifixes, the latter providing some striking (and scary) imagery. While all the time Ferrio's varied musical score hits all the right Pasta Western notes. Hell! even the irritating theme song is hauntingly chaotic and thus fitting once the pic reaches its denouement. With the mostly American cast turning in good perfs, and Morrow proving deft at genre compliance, this is very much an under valued pic and worthy of either seeking out for a first time view or for reevaluation purpose. 7.5/10

"A Man Called Sledge" is unique among the spaghetti westerns I have seen so far because it is the only one directed by an American. Vic Morrow must have been a big fan of spaghetti westerns himself, because he really got it right. It must have been a lot of fun for an American director to go to Spain and Italy to shoot an authentic spaghetti western back when the genre was still being pumped out.

I wasn't expecting much spaghetti style from this film because I knew it was by an American director with mainly American actors, but the movie really surprised me. It's nowhere near the very top of the spaghetti meter, but on the other hand you would never mistake this one for a Hollywood western. It's got Italian written all over it. The music score by Gianni Ferrio is quite good. A couple of parts sound a little too much like jazz for me, but most of it is well-suited for the genre, especially the tunes with vocals and over-the-top cheesy lyrics.

Don't let the fact that this movie is one of the later-era spaghetti westerns and has James Garner in it fool you into thinking it's one of those goofy comedy type of Euro-westerns. There are a couple of funny lines in the film, but overall it's very serious and tragic with plenty of violence and action. This is not a happy film at all, which is definitely a good thing in this case.

The production values and acting are above-average for a Eurowestern. James Garner and Dennis Weaver, both of whom have usually portrayed happy/funny do-gooders in American films and television shows, do an excellent job here in their roles as seriously bad people. Casting them for those parts was probably done for effect. It reminds me of how Leone used Henry Fonda as the evil character in Once Upon a Time in the West.

This is one that is definitely worth seeing if you are into Euro-westerns.