Vera Cruz

I suppose when one deals with men of action, one just expect action. "As the American Civil War ended, another war was just beginning. The Mexican people were struggling to rid themselves of their... I suppose when one deals with men of action, one just expect action. "As the American Civil War ended, another war was just beginning. The Mexican people were struggling to rid themselves of their foreign Emperor--Maximilian. Into this fight rode a handful of Americans--ex soldiers, adventurers, criminals--all bent on gain. They drifted South in small groups-- AND SOME CAME ALONE" Gary Cooper and Burt Lancaster head the cast as two polar opposite American adventurers who get involved with Maximilian's royal house and Juarez's revolutionaries in 1860s Mexico. Cooper plays Benjamin Trane, basically a good man, tho one tainted by much cynicism, and Lancaster plays Joe Erin, gunman and an untrustworthy crook. Vera Cruz was the first release in SuperScope (beautifully shot by Ernest Laszlo on location in Mexico) and with director Robert Aldrich at the helm, the film brilliantly captures the violence and danger that was brought about during Mexico's revolutionary period. Adapted by Roland Kibbee and James R. Webb from a Borden Chase story, Vera Cruz very much feels like (is) a precursor to Peckinpah's The Wild Bunch and Sergio Leone's Spaghetti Westerns of the 60s. With its blend of comedy and outright action, the film is essentially a buddy buddy Western with a cynical amoral kicker. It's a blend that may not be to everyone's tastes, but with Lancaster (grinning for all he is worth) and Cooper (laconic supreme) in the leads the film rises above its oddity status. The professionalism on show, both from the obvious big stature of its stars and Aldrich's astute choreography of the action sequences, ensures this is a polished piece. There's much machismo of course, one only has to see that Charles Bronson, Ernest Borgnine and Jack Elam are in the support gallery of thugs to know this fact, but it should be noted that the picture is interested in showing a fair reflection of the Mexican conflict. The Mexican government of the time were outraged at the film, but on reflection now it's evident the film doesn't take sides. That to my mind has to be applauded. Some problems exist, notably some of the dialogue is a touch too corn based now. While as the main female character, Denise Darcel is out of her depth. One could think that she is maybe swamped by all the testosterone around her, but when you notice that Sara Montiel is coping fine in a secondary role, it shows Darcel to be limited. Vera Cruz held its own on release, neither busting the box office nor sinking without a trace. It would take over ten years before the true value of the film would start to be noticed. With that, it now shows to be very influential within the genre. Explosive, important and darn good fun, that's a mixture you just can't ignore. 8/10

_**Dynamic Mexico-oriented Western with Gary Cooper and Burt Lancaster**_ After the Civil War, two soldiers-of-fortune (Gary Cooper and Burt Lancaster) meet in the heart of Mexico and end up taking... _**Dynamic Mexico-oriented Western with Gary Cooper and Burt Lancaster**_ After the Civil War, two soldiers-of-fortune (Gary Cooper and Burt Lancaster) meet in the heart of Mexico and end up taking a job for Maximilian I, Emperor of Mexico, to escort a lady aristocrat (Denise Darcel) from Mexico City to Vera Cruz on the coast. Although they have help from imperial troops, they are assaulted by Juarez’s rebels because there’s gold to be had. “Vera Cruz” (1954) is an overlooked powerhouse Western that was made back-to-back by Cooper with “Garden of Evil.” I think they’re both really good Westerns, but give the edge to this one. It has comic book qualities that I don’t like (e.g. the trivial conflicts and superhuman marksmanship), but is otherwise an austere, action-packed, life-or-death adventure with spectacular Mexican locations, featuring the magnificent Pyramid of the Sun, not to mention two beautiful women (Denise Darcel and Sara Montiel). This is one of Lancaster’s top roles as he plays the lusty anti(non)hero with his charismatic grit-teethed grin counterbalanced by Gary Cooper’s aged, brooding antihero. One of these two is redeemable while the other isn’t. It’s kind of obvious, but the climax reveals all. The peripheral cast includes notables like Cesar Romero, Ernest Borgnine, Charles Bronson and Jack Elam. The movie is short-and-sweet at 1 hour, 34 minutes, and was shot in areas east of Mexico City, including the Pyramid of the Sun. GRADE: A-/B+

In the aftermath of the US Civil War, two mercenaries find themselves working together in an uneasy alliance. "Trane" (Gary Cooper) is the more refined of the two, "Joe" (Burt Lancaster) little better... In the aftermath of the US Civil War, two mercenaries find themselves working together in an uneasy alliance. "Trane" (Gary Cooper) is the more refined of the two, "Joe" (Burt Lancaster) little better than a thug, but both are good with a gun and that attracts them to the "Marquis" (Cesar Romero) who suggests to them that there's money to be made serving the Emperor Maximilian of Mexico (George Macready). To his palace they go and after some sharp shooting proves their worth, they agree to escort the "Countess" (Denise Darcey) to the port of Vera Cruz. She certainly needs an escort for the local population, under the leadership of "Gen. Ramirez" (Morris Ankrum), is bent on removing this Napoleonic interloper from his throne and establishing a republic. It's only when they cross a river that the men notice the countess must weight rather a lot more than her frocks suggest, and that starts them thinking of another, more lucrative, agenda for their journey. Thing is, she has plans of her own and is quite prepared to use her wiles on either or both of these characters to get her way. As they near the garrison, treachery is rife and things come to an head - but it's by no means clear who will emerge ahead of he game. There's a great chemistry here between Cooper and Lancaster, with the latter on great form as the likeable man you couldn't ever trust. The support is also effective, especially from the usually nondescript Romero, an almost as untrustworthy "Donnegan" (Ernest Borgnine), Jack Elam and Henry Brandon's menacing "Capt. Danette". It packs loads of sultry duplicity, betrayal and good old fashioned greed into a busy ninety minutes and though I was, as usual, on the wrong side at the denouement, it works well enough as an indictment of venality tinged with romance.