Such a frustrating disappointment

Good concept, poorly executed.

An Exercise In Nonsense

This is a gorgeous movie made by a gorgeous spirit.

See it – This is a good Burt Lancaster western, but it is a bit cliché and the ending might ruin it for you. Lancaster plays the stereotypical "hard-nosed" lawman. Robert Ryan co-stars as the stereotypical "washed-up" sheriff who is owned by the stereotypical wealthy and powerful cattle baron. The story itself is very similar to parts of other westerns such as "The Proud Ones" and "Firecreek." But if it's action you want, it's action you'll get. There are 4 pretty good gunfights, each better than the one before it. The final showdown is one of the bloodiest and most senselessly tragic endings you'll see in a western.

I have just had occasion to see this film multiple times. The primary reasons why I would heartily recommend it to any fan of serious film making are its amazingly poetic, philosophical script, and its unusually thought-provoking qualities. Much of the language is unusually flavorful and articulate, with many wonderfully memorable lines. There is a particular act of violence at the end of the picture which is specifically mentioned in other comments posted on this sight. I would prefer to avoid including a spoiler in my commentary. I will merely say, "Watch closely for it." It defies easy understanding, but I feel that it brilliantly stimulates some very intense concentration on the meaning of the whole story that has led up to it. In so many westerns, the role of the lawman is not really scrutinized, or questioned. Usually, the man is a hero. If he is corrupt, he is a villain. This movie presents an unusually laid-back subtle performance for Burt Lancaster as a man that you, the viewer, must ultimately evaluate for yourself. As with the Lee J. Cobb character, he is not evil by intention, but is he heroic? This question, and the whole film will probably haunt you for a good while after it is over. This is most uncommon in the genre.

A no-nonsense marshal is sent to apprehend roistering cowboys who've accidentally killed a townsman.The movie comes across as a revisionist western in keeping with its counter-cultural period. For example, none of the characters ends up as particularly likable, including Lancaster's and Ryan's. That way we're denied the usual hero to root for. Ordinarily, Lancaster's lawman would be expected to furnish the white hat, but here he comes across as a merciless enforcer, with no life apart from a professional one. Ryan too, as the burned-out sheriff, is sympathetic but hardly heroic, while Cobb's boss rancher transcends the usual black hat with some sympathetic character qualities. Even the scalawag gunsels show considerable regard for one another, with their own stories to tell. On a morality level, the movie is pretty complex, with no easy answers.All in all, it's an interesting story even if overdone at times, especially the big showdown that sprawls unconvincingly. Nonetheless, there's an aging Ryan and Lancaster, two of Hollywood's finest actors, lending authority to the proceedings. The supporting cast may be crowded and difficult to keep up with, still the movie definitely merits a look-see.

Director Michael Winner knows no other way than to make his western with a hard edge, but underneath this tough posturing and steadfast direction it's not so simple with a tersely contemplative narrative complemented by a powerhouse, but completely multi-facet performance by Burt Lancaster. That's not to knock a somewhat strong cast featuring Lee J Cobb, Robert Ryan, Sheree North, Robert Duvall, Albert Samli, Ralph Waite and John Beck. However it's Lancaster that sells it, where the traditionally dramatic story opens up a can of worms in a man's honour for justice (at any cost) that in the end it can only lead to tragedy. Viewpoints are questioned, but despite the reflective labouring and questionable motivations (reputations loom largely) every one these brooding characters stay true to themselves… for better or worse. Everyone seems to be itching for a confrontation -- although Ryan's (who's just great) character is the total opposite. Nobody wins. The focal point is that of Lancaster's lawman character (who somewhat develops into the bad guy role), where he begins to doubt his unflinching methods ("No man needs killing") … but it's hard to break away from what he knows best and in the film's terrific climatic standoff; his true nature comes through as he knew of no other way of getting the job done. "Comes with the job" was is too easy of an excuse to hide behind, as well as the rule to never draw first which also comes to light in the dying stages of the film. Winner's lean styling lets the blistering backdrop take shape, psychological tension build, Jerry Fielding's score conflictingly soars and the blood-lust doesn't disappoint with splash of red paint. A calculative, well-made western and a definite favourite by Michael Winner, which would make a good companion piece with his other western "Chato's Land" starring Charles Bronson and Jack Palance.