Cannon for Cordoba

(1970) Cannon for Cordoba WESTERN

The set up is like 30 minutes, and it involves a radical extremist Mexican General Cordoba (Raf Vallone) and his group of bandits successfully stealing six cannons from a train that made the mistake stopping by at a Mexican town headed toward the border. And with many soldiers either killed and injured, Captain Roderick Douglas (George Peppard) is then given instructions by his superior new orders. The first is to go undercover and locate the six cannons before destroying them, so that they would not be used against them. And then second order is to capture Cordoba alive so that he can face charges. And he does this with the help of his team, Jackson (Don Gordon), Andy (Peter Duel) and Peter (Nico Minardos). Two other people come to join his group as well of LT. Antonio Gutierrez (Gabriele Tinti) and Senorita Leonora Cristobal (Giovanna Ralli).

I did not care for the end of this movie, as well I did not care about the subplot regarding Jackson for not forgiving Douglas letting his brother shot and killed by Cordoba's men. I mean, why didn't Jackson direct his anger toward the person who committed the act. Douglas stopped him from saving him because between him and Jackson they were very much outnumbered, and that he himself would have gotten killed as well.

one states don't waste your time.......? I agree its not the best western around and it does resemble other movies of its genre. Peppard's is OK......but he did not carry the movie......for me. What surprised me, though it shouldn't have, was the nothing role of Andy Rice, Duel's performance was spot on and made the character pop when ever the camera was on him, Gordon also top notch and spot on. The whole movie I found myself looking for these 2 and if they were in the scene I was watching and hushing the room. But then Gordon has always played a great heavy and Duel....Well too bad we did not get a chance to see him push his way to the top, He definitely seemed to have the talent to have gone much further. so basically I liked it but I like action movies , the plot was OK and if your a Peppard fan its a must. Heck if you're a Duel fan it it showcases his talent even though it obviously was meant to. As I said before, you want to see some good acting that carries the film keep an eye out for Pete Duel and Don Gordon.

Cannon for Cordoba (why not Cannons, Cordoba steals six!?) stars George Peppard (The A-Team, The Blue Max!) and is one of those movies playing in the times of Mexico's long phase of revolutions and counter-revolutions starting around 1910 and going on for some decades. The pros of the movie: good acting, some good action, good production. The cons: nothing really new if you already watched such classics like Kazan's Viva Zapata! (1952, Marlon Brando), Peckinpah's The Wild Bunch (1969) or Leone's Giù la testa (Duck, You Sucker!) among others, all playing in the same time frame. Compared Cannon for Cordoba can hold its ground but can't really add something new - solid.

Tipical golden-age western plot, a bunch of reluctant heroes in a suicide mission against the bad guy (and, as usually, his army of well armed companions). The main problem with this movie, like many other American commercial movies, especially westerns, is originality. Elmer Bernstein score is like one hundred other westerns music scores, the main character, George "Breakfast at Tiffany's" Peppard as the captain Douglas, is very much annoyed all the time; Giovanna Ralli and Raf Vallone apparently in paid holiday and the director Paul Vendkos (poor guy!) has made the capital mistake, I really think he has seen "The Professionals" by Richard Brooks (1966), that is the better version of the same story (by the way, is a masterpiece). The most notable thing of this unfortunate movie is George Peppard's cigar that you can see in "The A-Team" television series all through the eighties.

It is a western set in Mexico, a pretext for an explosive farce. It is based on an excellent script, curiously signed by Stephen Kandel, prolific screenwriter for television. Here we have a film influenced by the spaghetti western, supported by a heterogeneous cast that is one of the flavors of the film, or rather heterogeneous and sympathetic, with actors with recognizable faces that we have inevitably seen elsewhere. And as for the female cast, it is also a success. The two female characters, even if not very present on the screen, are notable and striking. Both for the plastic poses (especially for Francine York), important in this world of dust and dirt, and critical for the dramatic progression for the second, Giovanna Ralli.

On the direction, Paul Wendkos, who is also a product of television (many series to his credit, including contributions to The Untouchables or The Invaders). Here he has a lot of fun with some crazy camera angles and zooms, which date the film a little, but which are not detrimental to the progression.

The richness of the script is in the relationship between the people of George Peppard's gang. Each of them is characterized simply and well embodied by each of the actors: they each present a real personality; their scenes between them are the most interesting. The least interesting of the lot is George Peppard himself, who goes through the film in a mechanical way. It is as if he is not concerned by the film.

The film adds to the spectacular, the explosions and the violence (in the spaghetti sense of the term). All in all, it becomes a curious product that maintains interest over time despite its flaws (stereotypes, rough direction of the actors).