Red Sun

In the late 1800's, Arizona. Two desperadoes Link and Gauche with the help of some professional bandits and Mexican outlaws, rob a train which was carrying gold guarded by union soldiers, but also on board is the Japanese ambassador who is heading to Washington D.C. In the process Gauche takes their sacred gold sword, which is a gift from their Emperor to the U.S. president. Also Gauche back-stabs Link by attempting to kill him, so he keeps the cash for himself. Unknowingly to Gauche, Link survives. The ambassador's bodyguard Kuroda, plans to get that sword back and kill him straight away for honour, but Link needs him alive, so he can find out where he hid the stolen loot. The two unwillingly pair up with the same goal, but Kuroda has only got seven days to do so, or he and Link will die by his sword.

Terrance Young's multinational (Spain, Italy and France) production of "Red Sun" is a boldly unusual western in the shape of the odd couple (west meets east) set on the old-western frontier, which has a nicely balanced out comic vein and stupendous lead performances. You could call it an experiment and it's an interesting blend, even though the story seems familiar, it does keep to its strengths and never wanders off onto pointless sub-plots. What goes on is elaborately important to the story. A snappily eventful script comes through with the witty humour being drawn upon the pair's bumpy relationship, involving their differences and actions. Charles Bronson is at his charismatic best with a lively turn as the rascally equipped gunfighter Link and the legendary Toshiro Mifune authentically emits classy grace with ace determination and stubbornness as samurai bodyguard Kuroda. They excel together and make a real good pairing. This is what sells the film from the get-go. Alain Delon makes for an formidable villain figure, as the deviously suave Gauche and beautiful bombshell Ursula Andress (who offers a brief topless scene) is terrifically dynamic as Gauche's robust firebrand girlfriend Cristina. Anthnoy Dawson and the wonderful Capucine also show up in minor parts. Young's direction can stumble in some shapeless touches, but mainly he keeps a busy pace and engineers some excitingly biting passages of raw action; like the suspenseful dying half with a bit of splatter on show. Editing is smoothly tailored. Maurice Jarre's uncannily saucy music score is less than grand, but atmospheric enough to the period. Henri Alekan's spaciously scenic cinematography, is kind of lost on the small screen and in full frame. This is sad as the picturesque locations are important to the feel of certain scenes. An assiduously engrossing display of swords and guns, which is far from a masterpiece, but chiefly entertains and makes suitable use of a flavoured international cast.