La bataille de la vallée du diable

in an age when black actors were confined to black roles, this film shows Poitier in a role that could easily have been played by a white actor-plus he's the coolest dude in the movie.

Bill Travers doesn't have to do an American accent.

this was from a time that people believed that there could be major characters with foreign accents in the USA who weren't villains.

Of course the USA at this time, and at any time, had plenty of odd accents. Except in movies.

The credits are waaaay more imaginative that you'd normally expect.

The music is highly "different" The camera-work is very strange- all those overhead shots.

I love this movie, and is a film I can watch again and again. It's very stylised-the lines are delivered like they were from a comic book.

You know-the sort of thing Quentin T "discovered"

Like the other reviewer of this movie, I, too, was a young child when I first saw this movie. It was around 1975 and it made quite an impression on me. My father, Bob Weissman, who loved the music in the film, first played the soundtrack for me. It is hypnotic and stirring -just excellent. The movie's storyline is not intricate, but what it lacks in depth, it makes up for with some suspense, good cinematography and of course, great music. James Garner is charismatic just like he is in "Support Your Local Sheriff" and Sydney Poitier, Dennis Weaver and Bibi Anderson fill their roles adequately. Overall, a good rental for a rainy (or snowy) afternoon or evening.

Caught between Hollywood's traditional western genre and the revisionist western styles of the late 1960s and 1970s, Duel at Diablo seems both a little behind and ahead of its time. As an old-fashioned western, Duel at Diablo has traditional cavalry vs. Indian story line and well-executed, exciting battle scenes. Beyond this, the film also addresses racism and oppression towards native Americans in a complex and non-sentimental manner, through various inter-linked sub-plots. While the Apaches may be cruel and the instigators of attacks, it is clear that this is only because they have been oppressed to the point where they have no other resort. This is not a battle between "good guys" and "bad guys" and in the end nobody wins. Perhaps, the film could have delved a little deeper into the social and ethical issues it raises. At times, it appears that the movie itself is unsure whether it is primarily an action film or a message film. However, this is also the movie's strength as its messages do not detract from the story and action, and never appear simplistic or preachy as is often the case in westerns that take a sympathetic perspective on the plight of native Americans. Meanwhile, the excellent, rhythmic and moody musical score by Neil Hefti, while unusual for a western, is well suited to accompanying the unrelenting action sequences and conveying the tragedy and doom of a society and individuals caught in a vicious cycle of conflict and racism. The casting of the film further contributes to making Duel a Diablo a strong, atypical western. James Garner, who up to then had always played amiable leading men, sheds his typical persona to effectively portray a tough and rugged frontier scout, bent on avenging the murder of his Indian wife. Equally effective and very cool-looking in a 3-piece suit, Sidney Poitier is an army sergeant turned businessman, whose color is on the surface only incidental to the story beyond a couple of subtle inuendos (that said, it is really left to the viewer's interpretation whether his race is significant to the story, and it is somewhat ironic to see a black man taking charge among a regiment of white soldiers in shoot-outs against Indians). Europeans Bibi Anderson and Bill Travers also seem strangely out of place, respectively portraying what could be a Scandinivian emigrant and a Scottish-born American officer. And Dennis Weaver, who up to that time was mainly known as a simple good guy in TV's Gunsmoke plays the part of a nuanced villain. Add to this the beautiful cinematography of wide desert landscapes, and Duel at Diablo is a superior, exciting, and socially-conscious western, not a great one, but certainly unique.

What makes this film interesting albeit unconventional are various themes that swirl beneath the main story line. Made at the time when the Civil Rights movement was in full swing, the film subtly touches on issues that were important during the 60s (e.g. racial tolerance, treatment of women and minorities). The film also has a brutal hard edge to it when it comes to the violence, death and the mayhem that takes throughout. The score gives a sense of desperation and inevitability which enhances its hard edge. Unlike many films of the genre, there is no clear cut protagonist or antagonist. The characters are realistic and more than mere two-dimensional cartoon characters for which the viewer could identify with. Overall, it is a thought provoking film that deserves a look in.

Lieutenant McAllister and a raw recruit of soldiers have to travel through Apache territory to deliver some much need ammunition to the awaiting Fort Conchos. Scout Jess Remsberg tags along with revenge on mind and horse broker / former trooper Toller who unwillingly receives an order to ride with them to finish off breaking the horses, if he wants the rest of his money. However McAllister and his small party find themselves trying to survive an Apache onslaught led by Chata, as the lady Ellen Grange that Jess rescued from the Apaches has something of importance to the chief.

A competently well-made and satisfying western that's highlighted by the prominent cast and exhilaratingly taut and unsparing action sequences. Ralph Nelson smoothly paces this drum-beating foray, with its adeptly bold and old-fashioned direction. His professional touch lifts the screenplay. Going a long way to giving it a real bravado feel amongst the gritty, dusty and sprawling rocky terrain, which is masterfully framed with a lot of ticker and claustrophobic channelling by cinematography Charles F. Wheeler. The main feature of the film that strikes a chord, has got to be composer Neal Hefti's effectively novel, melodic score that seems to match and illustrate the sequences and overall feel rather well, despite the uncanny tone for this type of film. I found the dynamic cues to be rather contagious. Albert and Michael M. Grilikhes' open screenplay (which is based on the Marvin Albert's novel, "Apache Rising") is pretty much to the point and a little lacking by simply going through the motions. But even with those vague moments, it still thrives on well-rounded dialogues from its sturdy script. In there are configurations of racism, and the unfair treatment of the Indians, but it's the personal confrontations and torment that makes for one gruelling exercise. It never lets any of this get carried away, but the starkly harsh nature stays throughout. The performances are richly devised, to stew up depth and realism due more to their favourable acting than in the way of the material. James Garner's winningly focused performance as rugged, seldom Jess is first-rate. Sidney Poitier classy turn as Toller is a different stroke and admirably good one. Bill Travers' growing performance is very strong and humane. Dennis Weaver eclectically solid. Bibi Andersson was mildly okay, but was hindered and the modest John Hoyt didn't see enough time as Chata.

Dated, but a well handled, compelling and tough as nails western, which finally shines through.