Chato's Land

Charles Bronson and director Michael Winner made the first of several films together in this western that was shot in Spain. Chato's Land boasts a fine cast of players most of whom don't make it through the end of the film.

Bronson plays Pardon Chato a mixed blood Apache just in town for supplies and a racist U.S. Marshal puts the prod to him. That's a big mistake as Bronson kills him in self defense. A bunch of self righteous citizens get up a posse after him. Their brand of justice includes raping his wife and killing his child in the bargain.

Jack Palance plays the nominal leader of the group, but he's got no control over the meanest of the bunch, a trio of brothers Simon Oakland, Ralph Waite, and Richard Jordan. Others in the party include James Whitmore and Richard Basehart.

Charles Bronson is always a nasty man to cross, never more so when on his own turf as he is in the Arizona desert. Bronson has honed this character to perfection. It's no accident that Winner was the director in the first three Death Wish films. Elements of this same plot are also to be found in a particular favorite Bronson film of mine, Mr. Majestyk.

Chato's Land is a good western with an impeccable cast. I do so love that sudden death ending in this film.

Once again this movie review sight has given a superb movie a lousy rating, and once again I blame the morons that write these reviews. Clearly the coming of brain transplant surgery will be none to soon. This movie is what westerns are supposed to be like, gritty, tough, sweaty, with no holds barred and plenty of action and blood. The plot is simple but works well and does not treat you as if you're a dummy, everything that happens makes sense. Bronson definitely looks and acts like he is an Indian living off the land, he does a superb job and I defy anyone to think of another actor who could play this role. The ending while immensely satisfying also leaves you feeling quite empty as the hero may have won, but why did it have to happen in the first place. Hatred, discrimination and overconfidence were the root causes which drove the posse to chase this fugitive into country he called his own, and in the end they paid for it with their own blood. So I guess you could say this movie also makes you think a little as it does have a moral to the story, which most of the new movies do not.

Released in 1972, "Chato's Land" is typically written off as lame Spaghetti Western with Charles Bronson but, actually, it's a UK production shot in Spain, Mexico and Arizona. And, secondly, there's more depth here than the one-dimensional racist-revenge plot might first lead you to believe.

I'll admit that I was turned off to this movie for years due to Brian Garfield's scathing review in his excellent book "Western Films," where he called it "cheesy, dreary, phony," but an open-minded and honest viewing proves him wrong. Yes, it's dreary, but it's not cheesy or phony. It's true that the desolate Spanish locations are phony, in that it's not the American Southwest, but other than that the characters and dialogue ring true.

The plot is simple: Chato, a half-breed Indian (Charles Bronson), shoots an arrogant, racist lawman in a saloon and a large posse is assembled where they chase Chato in his own element, which is why it's called "Chato's Land."

Bronson's role is taciturn, one-dimensional and almost invisible, until the end where he's a stunning example of masculine strength. Amazingly, Bronson was 50 years-old during filming, but he was in prime physical condition with not an iota of fat. Another reviewer commented that, if he were 6'5", he would've made a perfect Conan the Barbarian.

Bronson's striking presence and solemn performance is key to the success of the movie, of course, but the film's true strength is the writing/directing and the stellar cast that make up the posse, including Jack Palance, Richard Basehart, James Whitmore, Simon Oakland, Ralph Waite, Richard Jordan and more. The group dynamics of the posse and their interplay is where the film shines. Four or five of the men are good men, but they're too blinded by cultural bigotry toward a half-breed to realize the injustice of their cause. It never occurs to them that Chato has rights and that the slain lawman was in the wrong. All they focus on is that a sheriff is dead and a half-breed did it. Most of the rest of the posse are unlikable or repugnant, particularly a character played by Richard Jordan and his father, played by Simon Oakland.

Due to their differences, the loosely put-together posse lacks solidarity. Some are hell-bent on apprehending or killing Chato while others are rather half-hearted on the issue, pretty much just doing a favor for the former Confederate Captain, played by Palance. You have to listen closely because sometimes the dialogue isn't too clear, but the quality writing brings these characters to life.

Why does Chato become increasingly merciless as the story progresses? At first, he does things to simply deter the group and provoke them to give up, like destroy their water supply, but at a certain point some of the members of the posse cross the line and do something particularly heinous, not to mention utterly criminal, proving that they are the true criminals and not Chato. Some of the members object, which is respectable, but not enough to stop the atrocities and so they become guilty by association. It's called cowardly condoning.

As for the slightly ambiguous ending, what's the point? Chato need not kill when Chato's land will do it for him. That's why it's called "Chato's Land."

The score is decent with a compelling percussive part, but some aspects are too dated. An exceptional score would've propelled a good Western into greatness or near-greatness. Also, some of the editing is too abrupt and awkward. Still, despite its one-dimensional plot, "Chato's Land" is a quality Western. With all due respect, Brian Garfield was wrong.

The film runs 110 minutes, but there are versions that cut-out about four minutes of R-rated material.

GRADE: B

Chato's Land is directed by Michael Winner and written by Gerry Wilson. It stars Charles Bronson, Jack Palance, James Whitmore, Simon Oakland, Richard Baseheart, Ralph Waite and Richard Jordan. Shot on location in Andalucia, Spain, with photography by Robert Paynter, it's musically scored by Jerry Fielding. Plot finds Bronson as half Apache, Pardon Chato, who is forced to kill the local sheriff in self defence and finds himself being hunted by a town posse led by Captain Quicey Whitmore (Palance). However, as the posse trail him into the wilderness it becomes apparent that the tables have been turned, with Chato given further cause to inflict harm upon his pursuers.

The first of six collaborations between Charles Bronson and Michael Winner, Chato's Land finds the pair setting the marker for what would define their work. With the Western genre going thru a resurgence, Chato's Land is very in-keeping with the type of Western that was being released in the early 70's: namely violent, uncompromising and certainly gritty. These things, as history now shows, were tailor made for Winner, who perfectly utilises Bronson's silent and brooding assets to great effect.

Often suspected to be an allegory of the United States' involvement in Vietnam, it's thematically correct in that respect. But the timing of the film would suggest this to not be the case. Chato's Land is more than just a revenge Western; a film about white men out of their usual terrain being pursued by a man of a different ethnicity, it wants to, and does quite well, be a picture dealing in racism, violence and the folly of hypocritical justice. But even tho Wilson's script brings these issues to light, they are not fully formed, with Winner at times dragging the film to a stand-still. However, the group dynamic is a good one, with the inevitable character differences creating a tinderbox waiting to ignite, while Winner doesn't skimp over the violence, puncturing the narrative with savage thrusts.

Bronson was 50 years old when making the film, his physicality here is very impressive. The role of Chato is hardly a stretch for him, in fact it's very much a perfect fit. He's basically asked to be a phantom in the landscape, but he casts an imposing presence each time he's called on to deliver some Chato justice. In pursuit are a mixed bunch of actors, with Palance, Whitmore and Baseheart the obvious professional standouts, while Simon Oakland leaves an indelible mark as grizzled father of the Hooker boys, Jubal. Fielding's (The Wild Bunch) score is efficient, but workmanlike, and Paynter's (Lawman) photography never really makes the landscape as imposing as it should be. Overall it's a mixed bag, but for fans of revenge type Westerns, and Palance, it's easy to recommend, but it still should have been more intelligent than it ultimately is. 7/10

A laconic Apache is pursued by a posse to solve a sheriff's death , dead in self-defense showdown by Chato (Charles Bronson) . Stalking the misfit group who are allegedly to be chasing him , after they attack his woman and family . A veteran confederate officer (Jack Palance) leads the posse (Victor French , James Withmore , Lee Patterson) along with three brutal brothers (Richard Jordan , Simon Oakland , Ralph Waite). Chino struggles to maintain his livelihood and later on , he seeks revenge .

This offbeat Western film displays excessive violence , noisy action and orgies of destruction of life and property . It's full of fury , sound , sadism and gratuitous violence . Characters are beaten, killed and raped . Pretty good Charles Bronson in his ordinary tough role , this film is one of Charles Bronson's 70s westerns ; his westerns made during the 1970s include Red sun (1971), Chato the Apache (1972), From noon till three (1976), Nevada Express (1975) and The White Buffalo (1977) . For Charles Bronson fans , it's full of what made his movies so popular . Although isn't among Bronson's stronger , this is one of his more viscerally effective movies . Striking and atmospheric musical score by Jerry Fielding , Sam Peckinpah's usual . Colorful cinematography by Robert Paynter reflecting splendidly the barren outdoors from Almeria (Spain) , as usual . The motion picture was well directed by Michael Winner . This is the first film out of six that Charles Bronson and Michael Winner made together . Winner had important commercial successes in the mid-70 with his fetish actor , Charles Bronson , achieving various box-office hits, such as ¨Deathwish I and II, furthermore, ¨The mechanics¨ and ¨The stone killer¨.