VALUTAZIONE IMDb
6,5/10
4549
LA TUA VALUTAZIONE
Nel territorio di Apache, un uomo cerca l'assassino della moglie indiana e una casalinga abbandona il marito per raggiungere la tribù del suo amante Apache.Nel territorio di Apache, un uomo cerca l'assassino della moglie indiana e una casalinga abbandona il marito per raggiungere la tribù del suo amante Apache.Nel territorio di Apache, un uomo cerca l'assassino della moglie indiana e una casalinga abbandona il marito per raggiungere la tribù del suo amante Apache.
- Premi
- 1 candidatura in totale
Ralph Nelson
- Col. Foster
- (as Alf Elson)
Armand Alzamora
- Ramirez
- (non citato nei titoli originali)
Ralph Bahnsen
- Trooper Nyles
- (non citato nei titoli originali)
Timothy Carey
- Deputy Clem
- (non citato nei titoli originali)
Jeff Cooper
- Trooper Casey
- (non citato nei titoli originali)
Kevin Coughlin
- Norton
- (non citato nei titoli originali)
Robert Crawford Jr.
- Trooper Swenson - Bugler
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizJames Garner's first western since leaving Maverick (1957) and Sidney Poitier's first theatrical western.
- BlooperAs Willard hands his wife a gun, he says there are two cartridges in gun. However, it can be seen that all six chambers are loaded.
Bullet noses can be seen in the chambers on the left side of the cylinder but a minute or so later, the right side is on camera and shows 3 empty chambers.
- Citazioni
Ellen Grange: They all think that any decent woman would prefer to die than live as an Apache squaw. Maybe they're right.
Jess Remsberg: Death comes soon enough. Anyone who hurries it is a damn fool.
- Curiosità sui creditiThe United Artists logo is sliced off the screen with a bloody Calvary Saber, slicing an "X" across the screen, revealing the opening scene. At the end, the same saber slices the live picture away, as (sort of) a fade out.
- ConnessioniFeatured in Rubare alla mafia è un suicidio (1972)
Recensione in evidenza
A bloody, brutal Western where the action never stops.
First, the Bad (let's get that out of the way). Like all Westerns, the plot has its flaws -- with an Indian war party off the reservation they would not have sent a shipment of ammunition through a narrow canyon guarded by only one squad of green recruits on unbroken/partly saddle broken horses. But so what? In the classic Western Stagecoach the Indians would have shot the horses pulling the stage and then finished off the passengers as opposed to shooting at the people in the coach. Also, Sidney Poitier's silver vest remains immaculate throughout the long desert journey and several pitched battles.
However, the movie moves so fast that you never really have time to stop and remind yourself that you have to "suspend disbelief" to watch it.
Next, the Good. On one level, it's a classic cavalry vs. Indians story. But viewed through a different lens than in earlier Westerns; the Indians are shown with some perspective, if not total sympathy, which probably makes this one of the first Westerns to get beyond a one dimensional view of them. There are a variety of interesting subplots which flesh out the major characters and keep things twisting, turning, and moving along between the combat scenes. In fact, almost every one of the characters is angry about something, creating lots of tension between them. James Garner's character is looking for the men who raped and killed his (Indian) wife, Dennis Weaver's Will Grange is angry about almost everything, including that his wife was held captive by the Indians, Sidney Poitier's Toller (now a civilian) is mad that circumstances forced him to accompany the cavalry on this mission ....
Garner and Poitier give excellent performances and the other actors rise to the occasion, helping us forget that they are, in fact, Scottish or Danish.
At the end of the movie the various subplots are tied up and the issues are resolved with (in one case) a very surprising twist.
On top of that, you have a wonderful (almost superb, for this movie) Neal Hefti score, which always seems to correctly reflect the mood of the scene. It fits the movie even better because it makes heavy use of Western/military instruments: guitars, horns, drums, ....
Finally, the Ugly. There are some fairly graphic scenes here (although not exactly like in the Wild Bunch or Saving Private Ryan). The Apaches could torture with the best of them and some of that appears in this movie, although we're spared the close-ups.
All in all, I must say that this is one of my long time favorites. I hope you enjoy it as much as I do!!
First, the Bad (let's get that out of the way). Like all Westerns, the plot has its flaws -- with an Indian war party off the reservation they would not have sent a shipment of ammunition through a narrow canyon guarded by only one squad of green recruits on unbroken/partly saddle broken horses. But so what? In the classic Western Stagecoach the Indians would have shot the horses pulling the stage and then finished off the passengers as opposed to shooting at the people in the coach. Also, Sidney Poitier's silver vest remains immaculate throughout the long desert journey and several pitched battles.
However, the movie moves so fast that you never really have time to stop and remind yourself that you have to "suspend disbelief" to watch it.
Next, the Good. On one level, it's a classic cavalry vs. Indians story. But viewed through a different lens than in earlier Westerns; the Indians are shown with some perspective, if not total sympathy, which probably makes this one of the first Westerns to get beyond a one dimensional view of them. There are a variety of interesting subplots which flesh out the major characters and keep things twisting, turning, and moving along between the combat scenes. In fact, almost every one of the characters is angry about something, creating lots of tension between them. James Garner's character is looking for the men who raped and killed his (Indian) wife, Dennis Weaver's Will Grange is angry about almost everything, including that his wife was held captive by the Indians, Sidney Poitier's Toller (now a civilian) is mad that circumstances forced him to accompany the cavalry on this mission ....
Garner and Poitier give excellent performances and the other actors rise to the occasion, helping us forget that they are, in fact, Scottish or Danish.
At the end of the movie the various subplots are tied up and the issues are resolved with (in one case) a very surprising twist.
On top of that, you have a wonderful (almost superb, for this movie) Neal Hefti score, which always seems to correctly reflect the mood of the scene. It fits the movie even better because it makes heavy use of Western/military instruments: guitars, horns, drums, ....
Finally, the Ugly. There are some fairly graphic scenes here (although not exactly like in the Wild Bunch or Saving Private Ryan). The Apaches could torture with the best of them and some of that appears in this movie, although we're spared the close-ups.
All in all, I must say that this is one of my long time favorites. I hope you enjoy it as much as I do!!
- wsidejack1
- 3 apr 2008
- Permalink
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- Colore
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By what name was Duello a El Diablo (1966) officially released in India in English?
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