Largely on the strength of 'Al Capone' (1959), director Richard Wilson was considered sufficiently noteworthy during the mid-sixties to rate an entry in the Thames & Hudson 'Encyclopedia of the Arts' (1966).
This talky, awe-inspiringly pretentious 'adult' western (scripted by Wilson and his wife Elizabeth) that a few years earlier would have signalled it's seriousness by being in black & white (like 'High Noon' or '3:10 to Yuma') is instead shot in incongruously pretty colour by veteran cameraman Joe MacDonald on the Universal backlot, where Brynner later trashes the already flimsy-looking sets with suspicious ease.
Based on a 1957 TV play, it was made too early to be influenced by Sergio Leone, but was obviously influenced (as was Leone himself) by the samurai films of Kurosawa.
The cast was largely recruited from TV and the New York stage, some of whom - like George Segal and Strother Martin - became more familiar a few more years later; while David Raksin's woodwind score lingers in the memory.
This talky, awe-inspiringly pretentious 'adult' western (scripted by Wilson and his wife Elizabeth) that a few years earlier would have signalled it's seriousness by being in black & white (like 'High Noon' or '3:10 to Yuma') is instead shot in incongruously pretty colour by veteran cameraman Joe MacDonald on the Universal backlot, where Brynner later trashes the already flimsy-looking sets with suspicious ease.
Based on a 1957 TV play, it was made too early to be influenced by Sergio Leone, but was obviously influenced (as was Leone himself) by the samurai films of Kurosawa.
The cast was largely recruited from TV and the New York stage, some of whom - like George Segal and Strother Martin - became more familiar a few more years later; while David Raksin's woodwind score lingers in the memory.