Content: José Gomez (Tomas Milian) is a stinky sourpuss and sentenced to death. For this purpose he should be transported to the high-security prison of Yuma. But with the little help of his girl-friend Jean Eden (“Ilya Karin”) and his old confederates he can escape during a stopp. This is a job for Luke Chilson (Richard Wyler), hardboiled bounty-hunter, who wanna earn the 3.000 dollars for José’s head. He nests in the isolated, windy “village” New Charcos, where Jean’s uncle Ernest Novack (Enzo Fiermonte) runs a guesthouse, who knows José Gomez since his childhood. As Chilson actually succeeds in capturing the bandit, the inhabitants of New Charcos help him to escape out of the hands of the detested gunman. They wanna see still the nice boy, José once was, the victim of circumstance, forced to lead a bandit’s life. Whatta false estimation, folx, what they have to realize by the arrival of Gomez’ violent gang. The go really too far, so Jean liberates the prisoned and brutally tortured Chilson, so that he is in game again. And he doesn’t need to be told twice.
| The Gunslinger says: Whereas director Eugenio Martin isn’t valued very much in the community, I can’t tell anything bad about the man. With this film he has even staged a crack, which has what it takes to b a B-classic. Let’s face the most important aspect: Tomas Milian, who celebrated his premiere in the genre. Right with his first SW, he establishes himself as one of its best actors. If you regard the scene, in which Chilson gives Novack a colt, to store it for him, while he marchs off Gomez. In only two or three close-ups Milian celebrates without words a firework of sentiments from the hope, that Novack hands the arm to him, up to a kind of resigned frustration, as Novack just keeps it. Furthermore Milians’ Gomez is malicious “Prince Charming”, who succeeds very long to blame the increasing violence on poor and tied up Chilson.
Remarkable too is the bigotry of the inhabitants: At the beginning they put one spoke after another in Chilson’s wheel, who works with the same brutal methods as the bandits he chases. As their companionship with Gomez ends completely, they complain whiny about Chilson, who – as a man of law - doesn’t protect them against the bandidos.
Enzo Barboni contributes a first class camera, with its clear highlights inside the a bit angled guesthouse and the inspired use of light and shadow. I enjoyed he score by Stelvio Cipriani as well: from the trumpet, which alternates with bluesharp and flute, in the title theme, over decent choirs, up to a neat string section and a taste of organ.
By the way: Even Richard Wyler does a passable job, probably his best in the genre, what is a further evidence for the qualities of the director.
| Rating: $$$$+
| Bodycount: ca. 20 Gringos, ca. 4 Mexicanos
| Explicit Brutalities: - Zacharias (Tito Garcia) kiss two defenceless prisoners
- Chilson, fixed on a gibbet is used by Gomez’ boys for some shooting exercises
- The bandits bash Miguel (Mario Brega), the blacksmith
| Luv': At the beginning Jean loves Gomez, but ceases it later on: 0/10
| Gore: 2/10
| Trailer: by ItaloWestern
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| OT:
El Precio de un Hombre
AT:
The Bountykiller (I)
The Ugly Ones (USA)
Year: SP/I 1966
D, S: Eugenio Martín
S: Don Prindle, José Maesso
C: Enzo Barboni
M: Stelvio Cipriani
with: Tomas Milian, Richard Wyler, Halina Zalewska (“Ilya Karin”), Enzo Fiermonte („Glen Forster“)
 | Richard Wyler reaches ...
|  | ... his sphere
|  | Tomas Milian and his fetish
|  | Enzo Barboni gives this film sometimes something gothic
|  | Can you recommend a barber? Tomas Milian, Tito Garcia
|  | | Richard Wyler prepares a red harvest |
|
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