Yellow Sky, 1948… Gregory Peck and Richard Widmark as bank-robbers… hmmmm. Not sure if 1948 ticket-buyers got their money’s worth out of this project. It never really busts-out. The ‘ghost town’ backdrop is a weak spot, today. Then, it might’ve worked. Anne Baxter’s tight blue-jeans worked, I’ll wager. The romance of Baxter-and-Peck was probably the biggest drawing-point beyond opening-week. Widmark is mildly creepy, but not really. Director William Wellman should’ve been able to do more with this script.
Watched it few days ago and loved it. The desert sequence is absolutely mezmerising, you really feel the unforgiving nature of the landscape there and possibly in a better way than in any other western I’ve watched.
Apart from the ending, which looks like being shot by someone else, I absolutely enjoy Yellow Sky. A stunning film, and Wellman’s best (so far). Beautiful, very beautiful.
[quote=“ENNIOO, post:9355, topic:141”]Viewed the Japanese disc last time.
The other day picked up an old UK pre cert tape on the cheap, and could not resist. Something for me to collect here and there:
[/quote]Nice tape, used to go for £60 years ago.
Thanks 
.
The Son Of The Sheriff.
Sheriff has two sons who are joined together at the spline and he keeps them locked up out of shame. Eventually when the boys are seven he forces a doctor to separate them. One child lives, and the other one comes back as an evil spirit. The spirit will not rest until all the people responsible for his death are dead. Mexican western from the early 80’s and has that unique weird atmosphere alot of the Mexican horror type westerns from the 70’s have. A different western for sure, and how I like them.
Have you seen The Story of G.I. Joe, also by Wellman, yet?
Bosch: Dallas[url]http://www.spaghetti-western.net/index.php/Mio_nome_è_Scopone_e_faccio_sempre_cappotto,_Il[/url]
-Typical unfunny comedy sw starring Anthony Steffen and Fernando Sancho. Whoever thought casting Steffen to play part in comedy must have been out of his mind. Sancho on the other hand is naturally suitable for these kind of roles.
I have a copy (thanks to Scherp) but not watched it yet. But I have seen several of his other war films, and they often include typical war film cliches and war film humour of the kind I don’t like. I had expected more from them.
I have also seen that Beau Geste is on YouTube.
In my opinion, The Story of G.I. Joe is the best WWII film made during the conflict and a lot more realistic than many films that were made in the decade or so after 1945.
Uccidi o muori/Kill or Die 2,5/5
Totally agree with that, it’s a great film
Saskatcheawn(1954)Alan Ladd, Shelley Winters directed by Raoul Walsh.
Average cowboys and indians story filmed in Canada. Ladd is ok and is always watchable, some good action here and there for a b-movie.
MATALO 1970, no coment, >:( rating 0/5
The Last of the Comanches (aka The Sabre and the Arrow) - Andre de Toth (1953)
Another one of those “Lost Patrol” films. Some good material in this one, but also some less inspired material. All in all only partly successful. 5/10
Taza, Son of Cochise - Douglas Sirk (1954)
Good early color photography and some competently directed action scenes.
Sirk shows that he was easily able to handle an action film, but the story, the characters, and the conflicts are too simple to make this quasi sequel to Broken Arrow (Jeff Chandler has a short cameo as the dying Cochise) a big brother of the influential Delmer Daves western. 5/10
Your ratings always crack me up.
As for this film, I´d say 3/5
[quote=“Bad Lieutenant, post:9375, topic:141”]Your ratings always crack me up.
As for this film, I´d say 3/5[/quote]
he´s just trying to find enjoyable SW - i hope he´ll find one someday
(nooo, just kidding, i know sartana1968 that you like sartana 
)
Fort Bowie, 1958… Ben Johnson in a very watchable Cavalry-vs-Apache action-piece. He’s caught between war-mongering fellow officers and manipulative women. Hollywood seemed fixated on a CO’s (not Johnson, he’s only a captain) wife not being able to handle living in a remote outpost. And not really being able to escape. Johnson deals with that as well as quelling an attack on the fort. The biggest flaw is the ol’ tie them up and walk-away, before we torture them scenario. Bad. If you’re gonna kill Johnson, kill 'im. Postponing it invites him to kill you. Which is what happens.
MATALO 1970, no coment, >:( rating 0/5<
Sartana 68, just curious, when you give a movie 0/5 do watch all the way to the end? The last movie Ive seen that Id give a 0 (Land of the Lost) I had to sit through since I was at a friends visiting. Otherwise theres no way Id have finished it! 
Going to watch Trinity is Still my Name today with my son. He loves it and Im really hoping to get him watching more movies…
Rio Conchos (Douglas / 1964)
Very good little western which I find, considering its date of production, strangley spagetthi-ish. Even Jerry Fielding’s score has that sense for me. Great action scenes and really quite brutal for its time. Plus a great performance from Richard Boone. I think a lot of spaghetti fans who say they don’t like American westerns would enjoy this one.
[quote=“Phil H, post:9379, topic:141”]Rio Conchos (Douglas / 1964)
Very good little western which I find, considering its date of production, strangley spagetthi-ish. Even Jerry Fielding’s score has that sense for me. Great action scenes and really quite brutal for its time. Plus a great performance from Richard Boone. I think a lot of spaghetti fans who say they don’t like American westerns would enjoy this one.[/quote]
I didn’t think it was really spaghetti-ish, more like the westerns Brown would make have a decade later, such as, for instance, 100 Rifles. It’s quite brutal for its year of making, yes, and if it were made in the late seventies, people would have no doubt said that it was influenced by the Italian western, but it’s a cowboys and Indians story about stolen rifles, which sounds more Hollywood-like. Using criminals (or at least shady characters) lead by an army officer who gets the chance to redeem himself, was an idea that was ‘in the air’ at this stage in film history. The spaghetti element could be Edmond O’Brien’s obsessed southern officer, who want to continue the war with other means. Corbucci would create such a character in The Hellbenders.
(Fine film, watched it a month or so ago and still have to finish my review of it)
By the way: I didn’t know what to think of this ending with O’Brien. He’s also an actor I don’t like.