69 reviews
Valdez is more a symbol of conscience!
Burt Lancasterat that time 57 years oldin fact dominates the film by a mystic presence, rather than actually being on screen for any length of time
The bulk of the film constitutes a battle of wits and guns between Valdez and an extremely stubborn leader of a band of trigger-happy gun-slingers
So when Frank Tanner (John Cypher) provokes a shoot-out which results in the death of an innocent man, Valdez asks $100 compensation from Tanner to provide financial support for his pregnant widow Tanner not only refuses, but humiliates Valdez and orders his hired gunmen to beat him hardly, to tie him to a cross, and to drive him out of his place
Again Spain locations represented the American frontier for this revenge tale about an aging former cavalry man who dusts off his old uniform, straps on his old guns, takes plenty of ammunition, and erupt a one-man army against a greedy, rotten, evil rancher and his henchmen to enforce justice at any cost
As the pursuers forge deeper into the wilderness, the situation shifts around with hunters becoming the hunted
Susan Clark (Gay) sides with Valdez without falling in love with him, while Barton Heyman (playing the chief henchman "El Segundo") provides his character with warmth and quality at a pivotal time
Burt Lancasterat that time 57 years oldin fact dominates the film by a mystic presence, rather than actually being on screen for any length of time
The bulk of the film constitutes a battle of wits and guns between Valdez and an extremely stubborn leader of a band of trigger-happy gun-slingers
So when Frank Tanner (John Cypher) provokes a shoot-out which results in the death of an innocent man, Valdez asks $100 compensation from Tanner to provide financial support for his pregnant widow Tanner not only refuses, but humiliates Valdez and orders his hired gunmen to beat him hardly, to tie him to a cross, and to drive him out of his place
Again Spain locations represented the American frontier for this revenge tale about an aging former cavalry man who dusts off his old uniform, straps on his old guns, takes plenty of ammunition, and erupt a one-man army against a greedy, rotten, evil rancher and his henchmen to enforce justice at any cost
As the pursuers forge deeper into the wilderness, the situation shifts around with hunters becoming the hunted
Susan Clark (Gay) sides with Valdez without falling in love with him, while Barton Heyman (playing the chief henchman "El Segundo") provides his character with warmth and quality at a pivotal time
- Nazi_Fighter_David
- Nov 18, 2007
- Permalink
The film concerns about the upright Bob Valdez(Burt Lancaster),an older Mexican-American constable,he accidentally murders someone accused by Tanner(Jon Cypher) of being a killer of the husband from his lover(Susan Clark).Then Valdez asks Tanner one hundred dollars for his spouse,it ignites the violence ,passions and ultimately deadly taking on with the local landowner baron and his henchmen(Hector Helizondo,Richard Jordan).A respectable Valdez recovers his uniform and weapons his days in the US cavalry and he goes killing one by one enemies.He's only helped by an old Mexican(Frank Silvera).
This Western revenge flick is plenty of violence,shoot outs and packs lots of action and excellent performances.Features a sensational acting by Burt Lancaster as an old but honorable gunslinger looking for justice. Appear famous secondaries with future and wide career as Hector Helizondo(Pretty woman,Turbulence,Princess diaries)embodies one of the underlings sent back by Tanner for killing him,besides Susan Clark(Showdown,Murder by Decree,Colossus),Frank Silvera((Killer's kid,Viva Zapata) and the early deceased Richard Jordan.The picture is based on Elmore Leonard novel, a prestigious writer with numerous scripts and books adapted to the cinema as Western(3.10 to Yuma,Tall T,Hombre,Joe Kidd)as another genres(Big bounce,Mr Majestic,Jackie Brown,Get Shorty).The motion picture is professionally directed by Edwin Sherin,posteriorly become in director of television(Law and order).The film was shot in Almeria(Spain)where were filmed by the hundred Spaghetti Western.
This Western revenge flick is plenty of violence,shoot outs and packs lots of action and excellent performances.Features a sensational acting by Burt Lancaster as an old but honorable gunslinger looking for justice. Appear famous secondaries with future and wide career as Hector Helizondo(Pretty woman,Turbulence,Princess diaries)embodies one of the underlings sent back by Tanner for killing him,besides Susan Clark(Showdown,Murder by Decree,Colossus),Frank Silvera((Killer's kid,Viva Zapata) and the early deceased Richard Jordan.The picture is based on Elmore Leonard novel, a prestigious writer with numerous scripts and books adapted to the cinema as Western(3.10 to Yuma,Tall T,Hombre,Joe Kidd)as another genres(Big bounce,Mr Majestic,Jackie Brown,Get Shorty).The motion picture is professionally directed by Edwin Sherin,posteriorly become in director of television(Law and order).The film was shot in Almeria(Spain)where were filmed by the hundred Spaghetti Western.
Screen legend Burt Lancaster plays Bob Valdez, an ageing Mexican-American lawman who is called upon to assist in the apprehension of a supposed murderer. The resulting confrontation was instigated by thoroughly nasty land baron Frank Tanner (Jon Cypher), who turns out to be a very bad guy indeed. The murder suspect ends up dead, and Valdez believes that his Indian wife should be compensated. So he goes to Tanner to appeal to him to pony up half of the needed dough ($100) but Tanner and his men laugh at Valdez and humiliate him instead, tying him to a cross. After Valdez is freed, he's ripe for revenge, abducting Tanners' woman Gay Erin (Susan Clark) as he gets ready for a final showdown.
While this entertaining Western does ultimately turn rather conventional, it's still an interesting and thoughtful look at bigotry in the Old West. Based on the novel by Elmore Leonard, and scripted by Roland Kibbee and David Rayfiel, it combines some complex character relationships and details with a tried and true revenge story. Lancaster hand picked Edwin Sherin to direct the feature, based on Sherins' success guiding "The Great White Hope" on Broadway, and Sherin proves up to the task of working in this genre. He gets solid performances out of a well chosen cast, and gives certain scenes just the right amount of tension. Lancaster is quietly authoritative and appealing as Valdez, and Cypher is just right as his snake-mean adversary. The latter gets an "introducing" credit here, as do the late, great actors Richard Jordan, as the cowardly R.L. Davis, and Barton Heyman, as Tanners' main henchman El Segundo. There's also a brief scene for the always excellent Hector Elizondo. Filmed on location in Spain, this features the expected dazzling scenery as well as a stirring - and sparingly used - music score by Charles Gross. But what folks may not expect is that ending. Sherin, Lancaster, and company definitely deserve some credit for doing such a thing.
If you're a Western fan, and always like discovering overlooked pictures, give this one a shot.
Seven out of 10.
While this entertaining Western does ultimately turn rather conventional, it's still an interesting and thoughtful look at bigotry in the Old West. Based on the novel by Elmore Leonard, and scripted by Roland Kibbee and David Rayfiel, it combines some complex character relationships and details with a tried and true revenge story. Lancaster hand picked Edwin Sherin to direct the feature, based on Sherins' success guiding "The Great White Hope" on Broadway, and Sherin proves up to the task of working in this genre. He gets solid performances out of a well chosen cast, and gives certain scenes just the right amount of tension. Lancaster is quietly authoritative and appealing as Valdez, and Cypher is just right as his snake-mean adversary. The latter gets an "introducing" credit here, as do the late, great actors Richard Jordan, as the cowardly R.L. Davis, and Barton Heyman, as Tanners' main henchman El Segundo. There's also a brief scene for the always excellent Hector Elizondo. Filmed on location in Spain, this features the expected dazzling scenery as well as a stirring - and sparingly used - music score by Charles Gross. But what folks may not expect is that ending. Sherin, Lancaster, and company definitely deserve some credit for doing such a thing.
If you're a Western fan, and always like discovering overlooked pictures, give this one a shot.
Seven out of 10.
- Hey_Sweden
- Jun 5, 2014
- Permalink
Burt Lancaster is terrific in this well directed movie.Even with his pale blue eyes, he comes across as a believable character of the results a mixed relationship.
Even though the storyline is typical of the era, wrong being righted against over powering odds, Lancaster pulls it off in believable fashion.
The movie gets better and better as I age into an old man.
With all the computer generated garbage being put in theaters today, it's good to be able to turn on the western channel and see some real acting again.
At the summary states, this film truly made an unusual casting decision by casting Burt Lancaster as a Hispanic man. At first, this made me groan, but after a short time I realized that he did a pretty good job with the accent and there are many light-skinned Mexicans, so it wasn't too hard to believe this. The only negative about this is that the film is in many ways about race prejudice and you wonder if maybe casting an Anglo in such a role that it might be undermining the central message. Regardless, the film is several notches above the usual Western.
It begins in the Old West with sheriff Lancaster being called in to arrest a man holed up in a shack with his odd woman. The man inside is killed by Lancaster and then it's discovered that the man was NOT the wanted man, but totally innocent. Lancaster feels bad about this and tries to take up a collection to help the lady but no one seems to care. In particular, the rich land owner who insisted the guy in the shack WAS guilty felt no compunction to help at all. This angered Lancaster, but the rich guy said that he could care less since the dead man was Black.
The rest of the film consists of Lancaster spending the rest of the movie trying to force the rich guy to contribute his share. However, the rich guy responds by having Lancaster beaten and humiliated--and in the process unleashing retribution from Lancaster, who begins killing off the land owner's posse as they chase him across the Southwest.
Despite the simplicity of the plot, the film never got dull nor did it seem overly preachy. Also, the film ended very well, though I don't want to spoil anything by saying more about it. An intelligently written script, good acting and direction make this film a winner.
It begins in the Old West with sheriff Lancaster being called in to arrest a man holed up in a shack with his odd woman. The man inside is killed by Lancaster and then it's discovered that the man was NOT the wanted man, but totally innocent. Lancaster feels bad about this and tries to take up a collection to help the lady but no one seems to care. In particular, the rich land owner who insisted the guy in the shack WAS guilty felt no compunction to help at all. This angered Lancaster, but the rich guy said that he could care less since the dead man was Black.
The rest of the film consists of Lancaster spending the rest of the movie trying to force the rich guy to contribute his share. However, the rich guy responds by having Lancaster beaten and humiliated--and in the process unleashing retribution from Lancaster, who begins killing off the land owner's posse as they chase him across the Southwest.
Despite the simplicity of the plot, the film never got dull nor did it seem overly preachy. Also, the film ended very well, though I don't want to spoil anything by saying more about it. An intelligently written script, good acting and direction make this film a winner.
- planktonrules
- Apr 4, 2008
- Permalink
A former Apache hunter, who has lost his taste for violence, becomes embroiled in a running duel across a scorched, rugged terrain with a gang of gunrunners...all over a lousy 100 bucks...and honor...and a woman. This film reminded me somewhat of Charles Bronson's first big box office hit, "Chato's Land". The band of thugs, unlike the group chasing Chato, were up to the job of killing Valdez, but found their quarry to be more elusive than they had bargained for. Very good western, right up there with Lancaster's film of the same year, "Lawman". I still can't feature Burt as a Mexican, though.
- helpless_dancer
- Feb 28, 2001
- Permalink
In the early 1970s Burt Lancaster would have been in his late fifties, but (unlike some of his contemporaries who had opted for more sedentary roles) was still keeping himself fit and active in action roles. "Valdez Is Coming" was one of three successive Westerns he made in 1971/2, the others being "Lawman" and "Ulzana's Raid". It is an example of what became known as a "paella Western"; although the setting is ostensibly the American West, it was actually shot in southern Spain.
Lancaster plays the title character, Bob Valdez, a town constable who is tricked into killing an innocent man by a powerful rancher named Frank Tanner. Filled with remorse with what he has done, Valdez proposes raising $200 for the dead man's widow, suggesting that Tanner should contribute half of this sum. The casting of the film is surprisingly multi-ethnic by Western standards. Valdez is a rare example of a Mexican-American protagonist, the dead man is black and his widow Indian. Normally black Westerners (and in real life there were plenty of them) were not shown at all, Indians (with a few exceptions) were generally the antagonists in cavalry Westerns and Mexican characters confined to supporting roles. (In "Vera Cruz", an earlier Lancaster Western from the fifties set entirely in Mexico, the two leading characters are both American).
Tanner is infuriated by Valdez's suggestion. He orders his men to tie Valdez to a heavy wooden cross and drive him into the desert. (There are, of course, obvious religious undertones in this scene). Tanner assumes that Valdez will die in the desert, but he has underestimated his man. The tough, determined Valdez manages to survive, with some help from one of Tanner's men who takes pity on him, and comes looking for revenge, sending the message to Tanner that "Valdez is coming".
The original plan was for the film to be directed by Sydney Pollack with Lancaster as Tanner and Marlon Brando as Valdez. The idea seems to have been to give equal prominence to Valdez and Tanner with major stars in both roles. These plans came to nothing with Brando dropping out, Edwin Sherin taking over as director and Lancaster switching roles.
This was Sherin's first film as director- he was to make only one more feature film, "My Old Man's Place"- and I think that his inexperience shows. The film does not flow easily and there are some dull passages. The ending seems particularly abrupt; the sudden appearance of the "The End" card came as a surprise. The more experienced Pollack might well have done a better job. Lancaster gives a decent performance in the title role, doing enough to save the film from a lower mark, but the unfortunately surnamed Jon Cypher does not make a memorable impression as Tanner. (One could say he is a mere cypher). I could understand why the original idea was to have big-name actors playing both characters. We cannot, of course, know how the film would have turned out had the original plans been kept, but I cannot help feeling that it would have been better than the film we actually have. 6/10.
Lancaster plays the title character, Bob Valdez, a town constable who is tricked into killing an innocent man by a powerful rancher named Frank Tanner. Filled with remorse with what he has done, Valdez proposes raising $200 for the dead man's widow, suggesting that Tanner should contribute half of this sum. The casting of the film is surprisingly multi-ethnic by Western standards. Valdez is a rare example of a Mexican-American protagonist, the dead man is black and his widow Indian. Normally black Westerners (and in real life there were plenty of them) were not shown at all, Indians (with a few exceptions) were generally the antagonists in cavalry Westerns and Mexican characters confined to supporting roles. (In "Vera Cruz", an earlier Lancaster Western from the fifties set entirely in Mexico, the two leading characters are both American).
Tanner is infuriated by Valdez's suggestion. He orders his men to tie Valdez to a heavy wooden cross and drive him into the desert. (There are, of course, obvious religious undertones in this scene). Tanner assumes that Valdez will die in the desert, but he has underestimated his man. The tough, determined Valdez manages to survive, with some help from one of Tanner's men who takes pity on him, and comes looking for revenge, sending the message to Tanner that "Valdez is coming".
The original plan was for the film to be directed by Sydney Pollack with Lancaster as Tanner and Marlon Brando as Valdez. The idea seems to have been to give equal prominence to Valdez and Tanner with major stars in both roles. These plans came to nothing with Brando dropping out, Edwin Sherin taking over as director and Lancaster switching roles.
This was Sherin's first film as director- he was to make only one more feature film, "My Old Man's Place"- and I think that his inexperience shows. The film does not flow easily and there are some dull passages. The ending seems particularly abrupt; the sudden appearance of the "The End" card came as a surprise. The more experienced Pollack might well have done a better job. Lancaster gives a decent performance in the title role, doing enough to save the film from a lower mark, but the unfortunately surnamed Jon Cypher does not make a memorable impression as Tanner. (One could say he is a mere cypher). I could understand why the original idea was to have big-name actors playing both characters. We cannot, of course, know how the film would have turned out had the original plans been kept, but I cannot help feeling that it would have been better than the film we actually have. 6/10.
- JamesHitchcock
- May 18, 2021
- Permalink
- Scarecrow-88
- Aug 6, 2006
- Permalink
Life's full of coincidence, no? This is true: just a few weeks back, I happened to pick up another novel from Elmore Leonard called 'Valdez is coming'. After reading it, I said to a close friend, 'Hey, this is a great story and it'd be another great movie..." So, when he told me it already was, I just had to get it and have a look.
Leonard is prolific: not only one of America's premier authors, he's responsible for some of the most talked about films ever, among them being Get Shorty (1995), Mr. Majestyk (1974 ), Jackie Brown (1997 ), Pronto (1997 ) and many others. So, when you get wind of another one from this master storyteller, you sit up and take notice.
Leonard's heroes tend to fall into two camps: the tough guy who's got heart when needed, or the guy with heart who gets tough when pushed. In both cases, you get a character who's the type of guy you'd always like to have as a friend, but never as an enemy...
Bob Valdez (Lancaster) is the local constable who gets caught up in a stand-off between an alleged killer and a vigilante posse led by Frank Tanner (Jon Cypher). After being forced to kill the accused murderer, Valdez tries unsuccessfully to persuade the towns' leaders and Tanner to kick in some compensation for the man's Apache widow. They refuse, of course, and, in the process of asking Tanner again, Valdez is cruelly treated: Tanner orders his men to tie a wooden cross to Valdez's back and then forces him to walk back to town some fifteen miles.
Unhappily for Tanner, he picked the wrong guy to bully: Valdez is a retired scout and Indian fighter who knows how to exact revenge. He returns to Tanner's spread and kidnaps his girl friend, thus forcing Tanner to pursue both of them into the high sierra the very place that Valdez knows better than anybody. That sets up the final confrontation between the two men, but preceded by Valdez picking off eleven of Tanner's men with better tactics and better firepower. And, for a western, the final scene is unique: you'll never see another western with an end like it. Bar none...
Filmed in Spain, up in the sierra, the cold terrain and air are overwhelming, almost. The music sound track is adequate and doesn't intrude as others have; the editing is just a tad too quick in a couple a places, but the photography is just stunning. Lancaster gives a solid performance as the Mexican constable, with just the right amount of lilt to his affected Mexican-English, and his tacit subservience to the bullying Americans; Cypher is excellent as the cruel and near-sociopathic trail boss and landowner; Susan Clark is competent, but not outstanding, as the kidnapped girlfriend; and a special mention for Barton Heyman as El Segundo who finally learns what true loyalty means. In sum, a stellar cast for a well-produced and very intelligent western.
If you like the western genre, in my opinion this one ranks in the top ten for that genre. So, if you haven't seen it yet, I give this one my highest recommendation.
Leonard is prolific: not only one of America's premier authors, he's responsible for some of the most talked about films ever, among them being Get Shorty (1995), Mr. Majestyk (1974 ), Jackie Brown (1997 ), Pronto (1997 ) and many others. So, when you get wind of another one from this master storyteller, you sit up and take notice.
Leonard's heroes tend to fall into two camps: the tough guy who's got heart when needed, or the guy with heart who gets tough when pushed. In both cases, you get a character who's the type of guy you'd always like to have as a friend, but never as an enemy...
Bob Valdez (Lancaster) is the local constable who gets caught up in a stand-off between an alleged killer and a vigilante posse led by Frank Tanner (Jon Cypher). After being forced to kill the accused murderer, Valdez tries unsuccessfully to persuade the towns' leaders and Tanner to kick in some compensation for the man's Apache widow. They refuse, of course, and, in the process of asking Tanner again, Valdez is cruelly treated: Tanner orders his men to tie a wooden cross to Valdez's back and then forces him to walk back to town some fifteen miles.
Unhappily for Tanner, he picked the wrong guy to bully: Valdez is a retired scout and Indian fighter who knows how to exact revenge. He returns to Tanner's spread and kidnaps his girl friend, thus forcing Tanner to pursue both of them into the high sierra the very place that Valdez knows better than anybody. That sets up the final confrontation between the two men, but preceded by Valdez picking off eleven of Tanner's men with better tactics and better firepower. And, for a western, the final scene is unique: you'll never see another western with an end like it. Bar none...
Filmed in Spain, up in the sierra, the cold terrain and air are overwhelming, almost. The music sound track is adequate and doesn't intrude as others have; the editing is just a tad too quick in a couple a places, but the photography is just stunning. Lancaster gives a solid performance as the Mexican constable, with just the right amount of lilt to his affected Mexican-English, and his tacit subservience to the bullying Americans; Cypher is excellent as the cruel and near-sociopathic trail boss and landowner; Susan Clark is competent, but not outstanding, as the kidnapped girlfriend; and a special mention for Barton Heyman as El Segundo who finally learns what true loyalty means. In sum, a stellar cast for a well-produced and very intelligent western.
If you like the western genre, in my opinion this one ranks in the top ten for that genre. So, if you haven't seen it yet, I give this one my highest recommendation.
- RJBurke1942
- May 21, 2007
- Permalink
God knows what made the Broadway actor/director Edwin Sherin shoot this modest revenge western which I enjoyed immensely as a boy, next to George Roy Hill's "Butch Cassidy and the Sundance Kid", Martin Ritt's "Hombre" and Sydney Pollack's "Jeremiah Johnson". All four have more things in common than solely the title heroes' sky-blue eyes ; I would like to mention only what impressed me most (and still does), i.e., the final shot belonging in the gallery of the most memorable ones in the history of western.
"Valdez Is Coming" is schematic and not very believable, but it has its strengths, too : for instance some fine laconic dialogue in the vein of "The Magnificent Seven", or mostly fine actors with Lancaster in the lead. (It may be a personal prejudice, but I always found the old circus artiste more convincing in roles like this one than in those in Visconti's frescoes.) I enjoyed especially Barton Heyman as charismatic El Segundo, despite the reservations of colleague R.J.Maxwell (which sound justified to me).
Remarkable is the participation of the veteran Hungarian cinematographer Gábor Pogány ; his camera-work here is nothing like as spectacular as in, let's say, "Il Cristo proibito", yet there are moments when the viewer's eye rejoices, even given the mediocre non-anamorphic transfer of the MGM's PAL disc.
"Valdez Is Coming" is schematic and not very believable, but it has its strengths, too : for instance some fine laconic dialogue in the vein of "The Magnificent Seven", or mostly fine actors with Lancaster in the lead. (It may be a personal prejudice, but I always found the old circus artiste more convincing in roles like this one than in those in Visconti's frescoes.) I enjoyed especially Barton Heyman as charismatic El Segundo, despite the reservations of colleague R.J.Maxwell (which sound justified to me).
Remarkable is the participation of the veteran Hungarian cinematographer Gábor Pogány ; his camera-work here is nothing like as spectacular as in, let's say, "Il Cristo proibito", yet there are moments when the viewer's eye rejoices, even given the mediocre non-anamorphic transfer of the MGM's PAL disc.
...was Bob Valdez's reply when he was asked when he used to hunt and shoot down Indians to eradicate them from rangeland. This is a great movie, one that deserves watching by anyone interested in the Western, and any Elmore Leonard fan. Burt Lancaster gives a great, artistic and very reserved performance as a very tired, lonely man who looks unassuming but should just not be messed with. His history makes him a very dangerous man, although he now only wants to live in peace. Of course, when he tries to do the honorable thing, he is treacherously dealt with, which leads to one of the most entertaining and compelling westerns ever filmed. Also of special note is Barton Heyman, who plays the world-wise Segundo, who quickly realizes that they are not after any ordinary man, and provides a great surprise ending. This is just a crackerjack movie, compelling from start to finish without losing a carefully crafted artistry that any movie lover would appreciate. Highly recommended.
- longrifles
- Aug 30, 2002
- Permalink
- classicsoncall
- Jun 16, 2016
- Permalink
- sapoguaton
- Sep 23, 2012
- Permalink
Like Martin Ritt's 'Hombre', made a few years earlier, this was adapted from an Elmore Leonard novel, and, like 'Hombre', it presents as its hero someone from an oppressed minority who is forced into a confrontation against heavy odds, due to the violent actions of some unscrupulous characters who hold him in racial contempt. Happening across a shooting party, Mexican lawman Bob Valdez is forced into a confrontation with an innocent army veteran, a black man accused by the rancher who's leading the party of a murder he didn't commit. Stricken with guilt at having killed the man, Valdez tries to get the rancher to give him $100 to compensate the dead man's Native American widow; however, he's met with contempt and physical violence, and the main part of the film sees him taking his revenge. (Although one should note that it's not straightforward revenge, as Valdez is acting as much to prove a point – to make the rancher accept his guilt and show some concern towards the oppressed – as he is to avenge a personal slight or injury.) Less downbeat and more unbelievable in its development than 'Hombre', this is nonetheless a film I wanted to like, and one which certainly has something to lift it above your average western. It's not a 'message' picture, as was the vogue at the time ('Little Big Man', 'Solider Blue' et al); rather, its revisionism is gentle and easy to miss, often just a seemingly throw-away line (asked when he hunted Apache, the titular hero replies "before I know better"). The fact that Valdez is a Mexican also runs counter to the usual western clichés of those 'over the border' being either caricatured bandidos (Calvera from 'The Magnificent Seven' and General Mapache from 'The Wild Bunch') or poor, oppressed farmers, essentially innocent but often incapable of defending themselves without the help of white mercenaries (again, we can turn to 'The Magnificent Seven' and 'The Wild Bunch' for examples). Indeed, an exchange between Valdez and his old friend Diego, where Valdez impersonates the rancher who will prove the villain of the piece, nicely captures the mix of scorn and idealisation which characterises the white man's view of the Mexican: "well, you're a good greaser, Diego. As long as you're a good greaser, I treat you fair and square – yes sirree, Diego, you people sure know how to live: singing, dancing, screwing – you don't worry about nothing." It's one of the best moments of the film, in part because it's so understated, yet underlain with a certain dramatic tension: having begun wryly, ironically, Lancaster delivers the final line with what is almost a sigh; a shift to a new, quiet seriousness and determination which is signalled by the faint rattle of Morricone-esquire percussion on the soundtrack, and which sees him ride out on his horse for his near-fatal second encounter with the rancher.
Given all this, it's unfortunate that the Mexican is played by a white man in make-up, although I'd accept that, back in the 70s, there were less bankable Latin stars of the kind who crop up in Hollywood films today (one can imagine Benicio del Toro playing this role, for example). Not that Burt Lancaster's make-up is particularly bad; and, after all, the fact that he played the hero of Robert Aldrich's 'Apache' in similar 'brown-face' didn't prevent him from giving a very fine performance in a very fine film. His blue eyes do look a little out of place here though, and the henchman character, 'El Segundo', looks like a pantomime villain, with hair that sprouts in huge, wild tufts on either side of his head, and dollops of face-paint which make him look like Laurence Olivier's Othello. Indeed, several of the protagonists also look distinctly like 70s TV characters: I'm thinking primarily of the woman Valdez kidnaps, and her man, the villain of the piece.
Particularly in the second half of the film, 'Valdez is Coming' threatens to become a rather tedious revenge/chase movie, though the plot is slightly more complex than this. Nonetheless, there is something rather pulpy about the way that Lancaster turns from put-upon minor lawman to brilliantly competent guerrilla fighter, shooting a man from a 1,000 yards, easily picking off the numerous armed riders sent after him, and sneaking into the heart of the enemy camp without anyone noticing. It's particularly noticeable partly because of the understated, resigned quality that characterises his performance in the initial stages of the film: moving slowly and speaking carefully, almost deferentially, Valdez is a character not exactly resigned to his lot (which is being treated with open or concealed contempt by his white neighbours) but understandably cautious about being too outspoken. From the moment he pulls his old army gear from under the bed and starts to growl, "Valdez is coming," he is suddenly athletic, hyper-alert, and a crack shot who never misses the target. Imposing such a cliché on what could have been a reasonably realistic look at life in the Old West means that the film fails to live up to its initial promise. The end result is a rather uneasy compromise between action-movie set-pieces and something more thoughtful and interesting. Still, it's worth an hour and a half of your time – even if that's for what it could have been more than for what it is.
Given all this, it's unfortunate that the Mexican is played by a white man in make-up, although I'd accept that, back in the 70s, there were less bankable Latin stars of the kind who crop up in Hollywood films today (one can imagine Benicio del Toro playing this role, for example). Not that Burt Lancaster's make-up is particularly bad; and, after all, the fact that he played the hero of Robert Aldrich's 'Apache' in similar 'brown-face' didn't prevent him from giving a very fine performance in a very fine film. His blue eyes do look a little out of place here though, and the henchman character, 'El Segundo', looks like a pantomime villain, with hair that sprouts in huge, wild tufts on either side of his head, and dollops of face-paint which make him look like Laurence Olivier's Othello. Indeed, several of the protagonists also look distinctly like 70s TV characters: I'm thinking primarily of the woman Valdez kidnaps, and her man, the villain of the piece.
Particularly in the second half of the film, 'Valdez is Coming' threatens to become a rather tedious revenge/chase movie, though the plot is slightly more complex than this. Nonetheless, there is something rather pulpy about the way that Lancaster turns from put-upon minor lawman to brilliantly competent guerrilla fighter, shooting a man from a 1,000 yards, easily picking off the numerous armed riders sent after him, and sneaking into the heart of the enemy camp without anyone noticing. It's particularly noticeable partly because of the understated, resigned quality that characterises his performance in the initial stages of the film: moving slowly and speaking carefully, almost deferentially, Valdez is a character not exactly resigned to his lot (which is being treated with open or concealed contempt by his white neighbours) but understandably cautious about being too outspoken. From the moment he pulls his old army gear from under the bed and starts to growl, "Valdez is coming," he is suddenly athletic, hyper-alert, and a crack shot who never misses the target. Imposing such a cliché on what could have been a reasonably realistic look at life in the Old West means that the film fails to live up to its initial promise. The end result is a rather uneasy compromise between action-movie set-pieces and something more thoughtful and interesting. Still, it's worth an hour and a half of your time – even if that's for what it could have been more than for what it is.
While traveling protecting a stagecoach back to his town, the middle-aged Mexican-American Constable Bob Valdez (Burt Lancaster) witnesses a group of locals shooting on a cabin where a black man is trapped with his Indian pregnant wife, accused by the powerful Frank Tanner (Jon Cypher) of being the killer of the local Jim Erin. Valdez decides to talk to the man, and when he opens the door, the henchman R.L. Davis (Richard Jordan) shoots; the man believes it is a setup and shoots on Valdez, forcing the peace officer to kill him. Sooner they find that the victim was innocent and Valdez asks for one hundred dollars to Tanner to give to the widow. However, he is humiliated and nailed to a cross by Tanner's henchmen and sent back to the desert. He is miraculous saved by his Mexican friend Luis Diego (Frank Silvera) but recovers his health. Valdez retrieves his outfits and weapons from the time he was a professional shooter killing Apaches for the U.S. Cavalry and rides to Tanner's land. He hits one of his henchmen (Hector Elizondo) and sends him back to Tanner's farm with the advice that "Valdez is coming".
"Valdez Is Coming" is an overrated western, with a good story of guilt and revenge, supported by magnificent performances. Unfortunately the last fifteen minutes and the open conclusion are absolutely disappointing, specially considering that R.L. Davis and El Segundo have burnt Luis Diego's house and hands and abused of his daughter. The make-up of American actors with blue eyes to become a cliché of Mexican people is quite ridiculous. The disrespect with the Catholic religion is quite out of the context of the plot. My vote is six.
Title (Brazil): "O Retorno de Valdez" ("The Return of Valdez")
"Valdez Is Coming" is an overrated western, with a good story of guilt and revenge, supported by magnificent performances. Unfortunately the last fifteen minutes and the open conclusion are absolutely disappointing, specially considering that R.L. Davis and El Segundo have burnt Luis Diego's house and hands and abused of his daughter. The make-up of American actors with blue eyes to become a cliché of Mexican people is quite ridiculous. The disrespect with the Catholic religion is quite out of the context of the plot. My vote is six.
Title (Brazil): "O Retorno de Valdez" ("The Return of Valdez")
- claudio_carvalho
- Sep 15, 2009
- Permalink
- loydmooney-1
- May 28, 2006
- Permalink
Similar in story to Michel Winner's CHATO's LAND, VALDEZ IS COMING turns out to be the better film thanks to its realistic depiction of racism and politics in the American west. Headliner Burt Lancaster (who plays a Mexican, which is slightly distracting) stars as Valdez, a man who stands up for the rights of the individual and finds himself all but condemned as a result. What plays out is familiar – a lone renegade pursued by a posse of evil men, whom he skilfully defeats – and also unique, including a twist ending that totally avoids cliché while being a bit of an anti-climax.
The film is a mix of the good and bad, with interesting parts of the script failing in the execution. The opening stand-off is particularly good, but the latter scenes involving moustache-twirling villain Jon Cypher and his prim and proper mistress, Susan Clark, are dated and dull. Lancaster is a commanding presence as always, and there's a particularly good supporting role from half-crazy Richard Jordan as a trigger-happy cowboy, but in contrast the direction is pedestrian (the director later moved to TV) and there are intriguing plot points that end up going nowhere. Filmed in Madrid, the Spanish scenery is a highlight, and the sequence in which Lancaster is punished by the villains is inventive, sadistic and straight out of a spaghetti western.
The film is a mix of the good and bad, with interesting parts of the script failing in the execution. The opening stand-off is particularly good, but the latter scenes involving moustache-twirling villain Jon Cypher and his prim and proper mistress, Susan Clark, are dated and dull. Lancaster is a commanding presence as always, and there's a particularly good supporting role from half-crazy Richard Jordan as a trigger-happy cowboy, but in contrast the direction is pedestrian (the director later moved to TV) and there are intriguing plot points that end up going nowhere. Filmed in Madrid, the Spanish scenery is a highlight, and the sequence in which Lancaster is punished by the villains is inventive, sadistic and straight out of a spaghetti western.
- Leofwine_draca
- Sep 23, 2011
- Permalink
Valdez is Coming is directed by Edward Sherin and adapted for the screen by Roland Kibbee and David Rayfiel from the novel of the same name written by Elmore Leonard. It stars Burt Lancaster, Susan Clark, Jon Cypher and Frank Silvera. Music is by Charles Gross and photography by Gábor Pogány. It's out of United Artists and shot in DeLuxe colour. Plot finds Lancaster as ageing town constable Bob Valdez, who after being forced into killing an innocent man, attempts to get compensation for the dead man's widow out of the townsfolk responsible for the events leading up to the shooting. This is met with a less than favourable response, particularly from crooked rancher Frank Tanner (Cypher), who although he is the most guilty party, takes umbrage to the suggestion and has Bob tied to a wooden cross and hounded out of town. But Bob will be back, he may be old and gentile in nature, but he's an experienced Indian fighter and a crack shot marksman. Watch out, Valdez is Coming.
Solid if a little too ponderous at times, Valdez is Coming is sort of like an amalgamation of an American Oater and a Spaghetti Western. Filmed in southern Spain, at locations where master Italian director Sergio Leone shot many of his European Westerns, the film is the silver screen directing debut of Edward Sherin, who made his name as a director in American theatre and television. Whilst the direction is competent and the acting from Lancaster adds a complexity to the story, the picture almost seems to be trying too hard to make Leonard's source material work. The bigotry of men card is played very early on and from then on in everything is just too predictable, in fact were it not for Lancaster's screen presence the piece would fall well under average. The Christ-come-avenging angel motif is subtlety played by Lancaster, but tension is in short supply and action sequences few and far between. Somewhere in the cramped mix is a good film, one with something to say, a film desperately trying to make a dramatic thrust courtesy of a decent man on a mission narrative. Sadly it doesn't all come together, but thanks to Lancaster and a neat ending, it's not one to dismiss completely. 6/10
Footnote: British cuts of the film offer a version missing some violent moments, suffice to say that if seeking the film out one should choose carefully.
Solid if a little too ponderous at times, Valdez is Coming is sort of like an amalgamation of an American Oater and a Spaghetti Western. Filmed in southern Spain, at locations where master Italian director Sergio Leone shot many of his European Westerns, the film is the silver screen directing debut of Edward Sherin, who made his name as a director in American theatre and television. Whilst the direction is competent and the acting from Lancaster adds a complexity to the story, the picture almost seems to be trying too hard to make Leonard's source material work. The bigotry of men card is played very early on and from then on in everything is just too predictable, in fact were it not for Lancaster's screen presence the piece would fall well under average. The Christ-come-avenging angel motif is subtlety played by Lancaster, but tension is in short supply and action sequences few and far between. Somewhere in the cramped mix is a good film, one with something to say, a film desperately trying to make a dramatic thrust courtesy of a decent man on a mission narrative. Sadly it doesn't all come together, but thanks to Lancaster and a neat ending, it's not one to dismiss completely. 6/10
Footnote: British cuts of the film offer a version missing some violent moments, suffice to say that if seeking the film out one should choose carefully.
- hitchcockthelegend
- Apr 17, 2011
- Permalink
Occasionally, a film arrives with little or no fanfare and surprises many who expected just another film. How often we are wrong. That, should be the premise of this story. Each pivotal character woven within this western tapestry seems to have reached the summit of experience. Then why does each ignore the warnings when they arise before hand? For many Burt Lascaster fans, this is a classic role as he plays Constable Bob Valdez, an aging but experienced peace keeper. Townsmen and friends alike, know little of him or his background, until an uneventful day when a rich and powerful land Baron, incites all to chase and corner an ex-army soldier because he "looks familiar." Accidentally killing the soldier, Valdez seeks $200.00 compensation for the widow. When challenged to get the first $100.00 from Mr. Tanner (Jon Cypher) the rich landowner, the task become an impossible quest as Tanner has no intention of giving Valdez anything, but contempt, torture and pain. What ensues is a noble saga worthy of the former Indian scout and tracker. Although, Tanner is the main obstacle, Valdez is also challenged by Tanner's formidable collection of professional gunmen assembled by his experienced right-hand man, El Segundo (Barton Heyman). Among them is Hector Elizondo as a Mexican Rider and R.L.Davis (Richard Jordon) as a cowardly opportunist. Playing Valdez's friend is Diego, (Frank Silvera), in addition there's Tanner's wife, Gay Erin (Susan Clark) who is taken hostage, but ends up anything but. What transpires is a valuable lesson for all. The experience of a man may be hidden by time, but time cannot hide the experienced man. *****
- thinker1691
- May 4, 2007
- Permalink
I like everything with Burt Lancaster and Burt in a western is that much more enjoyable to me. If you like "Revenge" movies like "The Crow" or Death Wish" then you'll probably like this. It also has a great supporting cast which is mainly the "bad guys" and when they make Burt mad he makes them wish they didn't. Good shoot em up flick!
The opening scene begins like a Sunday picnic/Turkey shoot: well-dressed couples in period costumes milling around, young boys plunking away with their new rifles. It takes a minute or so to realize that this is stand-off with a man sealed inside a log cabin. A few racial epithets later and we realize the man is (a) black and (b) possibly innocent of the crime he is accused of.
Director Edwin Scherin lucked into a fine script co-authored by Elmore Leonard, one of the pioneers among popular writers to take up the subject of racism in best-selling detective and action novels. He uses Burt Lancaster, the title character, judiciously at first, having him enter inconspicuously and a little awkwardly, like a man who knows he is out of place. But soon Lancaster assumes control of the deadlocked situation, and but for the interference of a trigger-happy shooter (Richard Jordan), almost manages to end it peacefully.
This scene sets off the plot events that follow, as Valdez tries to obtain money to compensate the man's Native American widow. Most of the action - except for the bizarre humiliation of Valdez at the hands of a wealthy gun-runner - follows standard formulas, but Lancaster underplays his role so well that the clichés turn to his and the movie's advantage. Add solid supporting roles by John Cypher, Susan Clark, and an offbeat ending, and you have a surprisingly engaging Western that delivers what we expect and then some.
Director Edwin Scherin lucked into a fine script co-authored by Elmore Leonard, one of the pioneers among popular writers to take up the subject of racism in best-selling detective and action novels. He uses Burt Lancaster, the title character, judiciously at first, having him enter inconspicuously and a little awkwardly, like a man who knows he is out of place. But soon Lancaster assumes control of the deadlocked situation, and but for the interference of a trigger-happy shooter (Richard Jordan), almost manages to end it peacefully.
This scene sets off the plot events that follow, as Valdez tries to obtain money to compensate the man's Native American widow. Most of the action - except for the bizarre humiliation of Valdez at the hands of a wealthy gun-runner - follows standard formulas, but Lancaster underplays his role so well that the clichés turn to his and the movie's advantage. Add solid supporting roles by John Cypher, Susan Clark, and an offbeat ending, and you have a surprisingly engaging Western that delivers what we expect and then some.
Imagine yourself an NFL first string quarterback. It's the fourth quarter at the two minute warning. You and your team have played flawlessly, and you're up by 13. It's the fourth down with a foot to go for a first down. Rather than risking a pass, you rush for that precious foot. You're hit hard! You fumble the ball, and a defensive player recovers it before it touches the turf. Your opponents go on to score two touchdown and two extra points and win by 1.
That was the way I felt at the end of "Valdez is Coming". Burt Lancaster, in one of his most brilliant performances, leads a mostly talented cast in an frequently exciting and touching, sometimes profound "quest" movie. Thankfully, the violence is restrained and sadism kept to a minimum. However, the last 15 minutes are presented in such a perfunctory, contrived manner, the ending becomes unnecessarily unsatisfying.
Part of the problem involves two key supporting roles. Susan Clark lacks the necessary vulnerability and natural allure to provide much interest to her "window dressing" role. Compare her to Marianne Koch ("Marisol" in "A Fistfull of Dollars") or Marianna Hill in "El Condor," women in a similar situation, and you'll see what I mean. Similarly, Jon Cypher lacks is too bland a villain. Had he and Richard Jordan exchanged roles, "Valdez is Coming" would be a far better movie. Instead a movie that was at least a "9" for three quarters of its running time ends up a "6".
That was the way I felt at the end of "Valdez is Coming". Burt Lancaster, in one of his most brilliant performances, leads a mostly talented cast in an frequently exciting and touching, sometimes profound "quest" movie. Thankfully, the violence is restrained and sadism kept to a minimum. However, the last 15 minutes are presented in such a perfunctory, contrived manner, the ending becomes unnecessarily unsatisfying.
Part of the problem involves two key supporting roles. Susan Clark lacks the necessary vulnerability and natural allure to provide much interest to her "window dressing" role. Compare her to Marianne Koch ("Marisol" in "A Fistfull of Dollars") or Marianna Hill in "El Condor," women in a similar situation, and you'll see what I mean. Similarly, Jon Cypher lacks is too bland a villain. Had he and Richard Jordan exchanged roles, "Valdez is Coming" would be a far better movie. Instead a movie that was at least a "9" for three quarters of its running time ends up a "6".
Burt Lancaster's crystal clear blue eyes is but one, but the most obvious reason I can't take Valdez Is Coming all too seriously. Burt's given some great performances, but can't overcome his Anglo looks and a heavy handed script.
Lancaster plays Bob Valdez, the Valdez who's coming in the title role. He's a Mexican-American sheriff who because of some trigger happy men in a posse is forced to kill a black man recently discharged from the cavalry with an Indian wife now left a widow.
The leader of the posse is rich rancher Jon Cypher who organized the manhunt on the say so of Susan Clark, the widow of a man this black trooper supposedly killed. Not that Cypher is terribly upset about the mistake. He's got a low opinion of people of color.
But when Lancaster just asks him for a decent amount of money for the widow, Cypher goes into a rage because no people who aren't white are going to tell him what to do. He fixes a kind of cross and ties Lancaster to it and sends him out on the desert. The mockery of the Catholic religion isn't lost on the Mexican populace.
It's more than not lost on us, we the audience get hit on the head with it. When Lancaster gets loose, he goes Rambo on Cypher and his men. It's a lot of blood and guts after that, worthy indeed of any Sylvester Stallone film.
According to a recent biography of Burt Lancaster, what Lancaster was trying to do was show the Mexicans as decent folks for the screen. His accent is passable, but why didn't they get the man some contact lenses to change that blue eye color is beyond me. And that religious symbolism was just a bit too much.
Still when the action gets going, it doesn't let up. Those sequences are the best part of Valdez Is Coming. It's not Burt Lancaster's best venture in the west though.
Lancaster plays Bob Valdez, the Valdez who's coming in the title role. He's a Mexican-American sheriff who because of some trigger happy men in a posse is forced to kill a black man recently discharged from the cavalry with an Indian wife now left a widow.
The leader of the posse is rich rancher Jon Cypher who organized the manhunt on the say so of Susan Clark, the widow of a man this black trooper supposedly killed. Not that Cypher is terribly upset about the mistake. He's got a low opinion of people of color.
But when Lancaster just asks him for a decent amount of money for the widow, Cypher goes into a rage because no people who aren't white are going to tell him what to do. He fixes a kind of cross and ties Lancaster to it and sends him out on the desert. The mockery of the Catholic religion isn't lost on the Mexican populace.
It's more than not lost on us, we the audience get hit on the head with it. When Lancaster gets loose, he goes Rambo on Cypher and his men. It's a lot of blood and guts after that, worthy indeed of any Sylvester Stallone film.
According to a recent biography of Burt Lancaster, what Lancaster was trying to do was show the Mexicans as decent folks for the screen. His accent is passable, but why didn't they get the man some contact lenses to change that blue eye color is beyond me. And that religious symbolism was just a bit too much.
Still when the action gets going, it doesn't let up. Those sequences are the best part of Valdez Is Coming. It's not Burt Lancaster's best venture in the west though.
- bkoganbing
- Aug 7, 2008
- Permalink