***Entertaining reimagining of “The Comancheros” with Boone, Whitman, Franciosa and Brown*** Two years after the Civil War, an unlikely team of four men go on a mission to find a missing cache of Federal rifles; the trail leads to a private army of ex-Rebels and Apaches, as well as a surreal antebellum mansion built in the middle of the desert along the Rio Conchos River in Mexico. The scouting unit consists of an alcoholic ex-Confederate major and Indian-hater (Richard Boone), a gallant but formidable Army captain (Stuart Whitman), a Buffalo Soldier sergeant (Jim Brown), a likable Mexican cutthroat (Tony Franciosa) and, later, an Apache woman (Wende Wagner). The private army is led by a cracked, bitter ex-Rebel general (Edmond O'Brien). This 1964 Western has uncomfortable similarities to John Wayne’s “The Comancheros” (1961), which also co-starred Whitman. “Rio Conchos” is about on par, but I give the edge to “The Comancheros.” Anyway, this was the theatrical debut of Jim Brown, who gave up his football career at its peak to try his hand at acting. He would return to the Western genre with the similar “100 Rifles” five years later. While not ranking with the best 60’s Westerns (e.g. “One-Eyed Jacks,” “Ride the High Country,” “Hombre,” “Nevada Smith,” “Bandolero!” and “True Grit”), “Rio Conchos” is a brutal, energetic and colorful Western. It’s not far behind “Duel at Diablo,” “El Dorado” and “Shalako.” I’d put it on par with “The Sons of Katie Elder,” “The War Wagon” and “The Undefeated.” The film runs 1 hour, 47 minutes and was shot in Arizona and Utah. The effective and timeless score is by Jerry Goldsmith. GRADE: B

Tough grizzled Oater worthy of re-evaluation. Rio Conchos is directed by Gordon Douglas and adapted to screenplay by Joseph Landon from the Clair Huffaker novel. It stars Richard Boone, Stuart Whitman, Jim Brown, Tony Franciosa, Wende Wagner and Edmond O'Brien. Music is scored by Jerry Goldsmith and Joseph MacDonald is the cinematographer. Out of 20th Century Fox it's a CinemaScope production filmed in De Luxe Color, and primary location used for filming was Moab, Utah. One ex-Confederate officer out for revenge against the Apache, one Army Captain driven by a sense of duty, one Buffalo Soldier continuing to prove himself and one Mexican convict getting a second shot at freedom. Four men, one journey, a mission to find who is arming the Apache with repeating rifles. Danger, mistrust and hostility are their only companions. The plot may be routine, and certainly it owes a debt to The Comancheros (Huffaker involved there too), but this is a tough and dark Western propelled by fine acting, quality direction and photography to die for. Structured around a men on a mission basis, each one with their own particular issues, it's very much a character driven piece. It's the time spent in the company of these men that makes the film so riveting, it never gets dull, the character dynamics are such, that we never quite know what to expect from the next part of the journey. Director Douglas also doesn't shy from action, pitting our odd group against Mexican Bandits and Apache Indians along the way, and then delivering a high octane finale that has a few twists and turns to keep it away from being formulaic. Whitman and Brown acquit themselves well enough, as does Wagner as the sole female of the piece. But acting wise this film belongs to Boone and Franciosa. The former portrays a bitter vengeful heart with ease, with a lived in alcoholic face, his destiny you feel is mapped out from the off. The latter shines as the ebullient character of the group, shifty, sly and as untrustworthy as it gets, Franciosa's play off of Boone gives the film its central pulse beat. But arguably all players are trumped by MacDonald's photography and Douglas' use of the scenery. From pretty much the first frame the landscape is the big character here. Douglas wisely using many long shots to reveal miles of vistas, then knowing when to pull in close to envelope the characters to give off the feeling of mental claustrophobia. Exterior work here belies the budget afforded the film, and all told it's a far better movie than the bigger produced Comancheros. Goldsmith's score is also a plus point, striking the mood from the get go, his arrangements flow at one with the hazardous destiny of the four men. One of the better 60's Westerns, it's in desperate need of a remastering job being done on it. 8/10