Cinco Pistolas do Oeste

Five criminals, some smarter than others, are pardoned by the Confederacy in order to rob a stagecoach of Union cash and capture a Confederate traitor. The five make their way to the rendezvous, where some of them menace a young woman and her elderly uncle, leading to in-fighting and the eventual battle with the US Army.

It's surprising to discover that the directorial debut of Roger Corman is not only a western, but is in color as well, with good photography by Floyd Crosby and some decent outdoor locations. On a technical level, this looks better than some of Corman's later, shoe-string black and white productions.

On hand is frequent collaborators like actor Jonathan Haze, Crosby, and writer R. Wright Campbell, as well as it's distributor, the soon-to-be renamed American International Pictures.

As far as the actual movie goes, it gets a bit talky at times, but it's a solid enough B-picture. Also, it's easy to see why villain Mike Conners went on to bigger and better things.

Done on a dental floss budget Five Guns West tells the story of the Confederate Army recruiting five outlaws and pardoning them from sentences of death to help recover several thousand dollars of gold bullion. It's kind of a different slant on the plot of the much bigger budgeted Virginia City. We learn that the Confederacy is much interested more in getting their traitorous agent back to stand trial as he has a lot of contacts to give the Union and pretty much blow up their spy system.

The five recruited are Michael Connors, John Lund, Paul Birch, R. Wright Campbell, and Jonathan Haze and they're about what you would expect from outlaws. The mission is to intercept a stagecoach at a particular station that will be carrying the agent and the gold.

That station is operated by Jack Ingram and his niece Dorothy Malone. Remember these guys are outlaws and haven't been with a woman in a while. As that line from Casablanca would read transfered here, Dorothy constitutes a second front all her own.

There are a couple interesting twists in this film involving the characters and the film was Roger Corman's directorial debut. If Corman didn't have a penchant for other genres he might have made some more interesting westerns like Five Guns West.

This was a fairly typical "formula" western. Since I grew up on this sort of western, I rather enjoyed it. One must concede that it could never have been considered a contender for any sort of award, but it was entertaining enough to keep me watching until it was over (of course, most any movie can do that LOL).

Actually, I really enjoy the old western movies -- I don't even mind the corny ones. I believe that one must remember that these movies were made for entertainment (and mostly entertainment for kids at the Saturday afternoon matinée showings, I suspect). Given those sorts of parameters, Five Guns West doesn't seem so bad. It is entirely possible that I first saw it on a Saturday afternoon back in Franklin, NE during the mid-1950s.

I'm surprised that the rating for FGW is only 4.3, as I thought it compared reasonably well with other Westerns of the period.

The implausibility of five villains being pardoned and then being trusted to fulfil their undertaking to capture the absconding traitor and gold and return both to the Confederacy has already been remarked on. Getting the date wrong (the officer mentioning "1867" when the Civil War is still being fought) was astonishing. And the villains don't look that villainous, despite their crimes.

But the plot canters along well enough, the factional aligning and re- aligning of the five is interesting, and the final shoot-out quite original.

But I do wonder how much better the film would have been with Randolph Scott starring, Budd Boetticher directing and a couple of real heavies (Jack Elam, Skip Homeier, say).

A group of five condemned confederates are sent west to find a stagecoach carrying a southern spy and $30,000 in confederate gold. The highpoint comes when they reach the stage coach station to await the arrival of the targeted stagecoach. Working there in the isolated station are Dorothy Malone and her alcoholic uncle. The interesting interaction between her, her uncle and the five men isn't half bad, with much of the attention sharply focused on the men and Malone, the highpoint being an interesting scene where they share dances with her. While the story is full of potential, it seems to avoid it more than not, though it is notable as Corman's first directorial effort.