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The Condor. El Condor is directed by John Guillermin and written by Larry Cohen and Steve Carabatsos. It stars Jim Brown, Lee Van Cleef, Patrick O'Neal, Marianna Hill and Iron Eyes Cody. Music is by Maurice Jarre and cinematography by Henri Persin. Luke (Brown), an escaped chain-gang fugitive, and Jaroo (Cleef), a gold prospector, decide to join forces in an assault on a Mexican fort that is thought to house the gold reserves of Emperor Maximilian. Backed by a band of Apache Indians, the mission is on, but the fort is heavily armed and General Chavez (O'Neal) is a shrewd and ruthless leader of the Mexican defenders. Ebert didn't like it, it's most divisive amongst genre aficionados, while the charge of it being a mindless action film carries some substance, but oh what raucous - riotous - rambunctious fun it is! It would be folly to argue about the acting being great here, it simply isn't, with both Cleef and Brown getting by on charisma, screen presence and light airy by-play. Yet Guillerman and producer Andre De Toth knew how to make an action film, and how to make the action impact with as much force as possible. The spectacle on show here is quite something, from the Technicolor photography that brings Andalusia vividly to life, to the magnificent adobe fort - and to the incredibly large cast members indulging in brutal and bloody battles, El Condor knows exactly what it needs to do to entertain the viewers. There's also the sizzle factor, brought about by some nude scenes that ensured the picture would get the highest classification upon its original release. Yet regardless of these scenes being tame by today's standards, they surely are not in the film for gratification sake anyway, there's a simmering sexuality in the movie from the off. What with its wrought machismo and breaking down of racial boundaries, it makes up for what it lacks in subtlety with high temperature atmospherics. Anyway, in spite of what you might have heard about Hill's "full monty" scene, it is beautifully erotic and it's no stretch to believe that she could, in that moment in time, stop an army in its tracks! Attagirl. Maurice Jarre has a grand old time scoring the picture, blending stirring boom time with japery laced tinkles, it's a most appropriate musical accompaniment. So with that comes the observation that El Condor is not successful in making any deep meaningful observations on either the human condition or politico posturing. What it does do is have a bloody good time, with its bloody brutal action sequences, a body count via gun-play that would fill out a war movie and the sexually charged atmosphere, El Condor is mindless but pure unadulterated entertainment. So Amen to that! 8/10
It has been twenty years since Don Diego de la Vega fought Spanish oppression in Alta California as the legendary romantic hero, Zorro. Having escaped from prison he transforms troubled bandit Alejandro into his successor, in order to foil the plans of the tyrannical Don Rafael Montero who robbed him of his freedom, his wife and his precious daughter.
Outlaws disguised as Indians commit crimes against settlers but Winnetou and Old Surehand are determined to unmask the bandits and keep the peace.
Hired by a Spanish baron, Hong Kong treasure hunter Jackie, a.k.a. "Asian Hawk" and his entourage seek WWII Nazi gold buried in the Sahara Desert.
A town—where everyone seems to be named Johnson—stands in the way of the railroad. In order to grab their land, robber baron Hedley Lamarr sends his henchmen to make life in the town unbearable. After the sheriff is killed, the town demands a new sheriff from the Governor, so Hedley convinces him to send the town the first black sheriff in the west.
Dorothy Johnson was a Western writer ahead of her time. Women saved men, heroes died unwept and unsung, whites lived with Indians and benefited from the experience. Three of her stories were made into films and many critics consider "The Man Who Shot Liberty Valance" to be the cornerstone of the modern western. This documentary looks back on Dorothy's life, and her place in history.
Two jobless Americans convince a prospector to travel to the mountains of Mexico with them in search of gold. But the hostile wilderness, local bandits, and greed all get in the way of their journey.
A teenager's weekend at a lake house with her father takes a turn for the worse when a group of convicts wreaks havoc on their lives.
Renegades trying to get the army to abandon their fort get the Indians addicted to whiskey, then convince them to attack and drive out the soldiers.
American Matt Quigley answers Australian land baron Elliott Marston's ad for a sharpshooter to kill the dingoes on his property. But when Quigley finds out that Marston's real target is the aborigines, Quigley hits the road. Now, even American expatriate Crazy Cora can't keep Quigley safe in his cat-and-mouse game with the homicidal Marston.
Old Surehand and his faithful old friend Old Wabble are on the trail of a cold-blooded killer with the nickname 'The General'. The brother of Old Surehand was murdered by him. On the way Old Surehand and Old Wabble are involved in the running conflict between settlers and Comanches who are likely to go on the war path. Old Surehand can count on the support of his friend and blood brother Winnetou, the amiable chief of the Apaches. Written by Robert
Cheyenne Jones comes to the Blue River Ranch and asks for a job as a cowpuncher. Actually, Jones's real name is Buck McCloud and he's the new owner of the spread, having inherited it when his uncle died a year earlier. He's roaming the range incognito while trying to identify who's behind the cattle rustling that is afflicting his new business.