THE MASTER GUNFIGHTER

US, 1975, 121 Minutes, Colour.
Tom Laughlin, Ron O'Neal, Lincoln Kilpatrick, Barbara Carrera.
Directed by Frank Laughlin (Tom Laughlin).

Tom Laughlin, of Billy Jack fame and popularity, has taken his social themes into the period of colonial California. Once more he is the loner hero, righting wrongs and dealing out vengeance. (Unfortunately, his vocal acting ability is poor, acceptable as Billy Jack, but stilted from this bearded gunfighter.) The coastal photography is breathtaking. The Western conventions are presented in a brooding, tableau style, echoing rather accurately the Samurai story and films on which it is modelled. Action predominates, especially from the expert gunfighter and swordsman; but the film is certainly socially conscious and comes down very heavily on its targets: aristocracy, racism, an oppressive Church.

1. How entertaining was the film? Its social impact? An allegory of modern political and social conditions? A film of social protest?

2. The importance of colour, the visual presentation of the landscapes in such detail, the importance of the atmosphere of the sea and the seascapes, the music and the overtones of the Italian western styles? The portrayal of America, California, the Spaniards, the Indians, the blacks, the born Americans? An authentic atmosphere of California in the 19th century?

3. The importance of the initial narrative and its view of history and interpretation, fact and fiction? The effect of the moralising right at the beginning of the film and the tone it set for the interpretation of what was seen? The moralising for now? An allegory of America in the 70s by means of a presentation of violence and oppression and injustice in the early 19th century?

4. The narrative at the beginning stressing the atmosphere of legend and myth? The importance of the hero, the hero in legend, the memory as handed down? The importance of this particular hero at first countenancing evil, withdrawing from the world, changing, being challenged to protect, being a saviour, not wanting to rationalise a situation away? Was Finlay a convincing and admirable hero?

5. The episodic structure of the film, the importance of having the flashback about the massacre only in the middle, the importance of the flashbacks of memories, the build-up to the confrontation in the climax with the ships, with Paolo and Finlay? The momentum of the film? Suspense and involvement?

6. Comment on the opening of the film: the sunrise and then taken up with the sunset at the end? The stateliness of the procession, the sudden transition to massacre, the impact of this? The fact that most of this was not seen until the middle? The transition then to the empty village, the girl and the atmosphere of the crows, the visual presentation of menace? Fear? The anticipation of the explanation of this and its being shown later? Audience involvement in mystery and the sense of injustice?

7. The introduction to Finlay, the details of his character, his marriage (the visual presentation of this so much later in the film), the enigma of his leaving, his insistence of Paolo's promise not to massacre any other village, the presentation of his life of gunfighting and the stylisation of this, an atmosphere of violence in Mexico?

8. How important was the visual stylising of the film: the influence of the Italian western with a sense of pacing, close-ups at some length, concentration on faces, profiles, non-verbal expression? The influence of the Japanese Samurai films in the patterning of violence and the ritual presentation of action? What tone did it give to the film? How did it help to interpret the characters? As illustrated by Finlay's gunmanship and swordsmanship in Mexico? (The irony of the black agent looking on?)

9. The portrayal of Paolo, his land ownership, his Spanish status, his rationalising the situation of oppression of the Indians in order to pay the Americans? The beauty of his hacienda, the stateliness of his way of life, his relationship with his sister? His reliance on Maltese for administering violence? How villainous was Paolo in himself? As pressurised by circumstances and the Americans?

10. How interestingly did the film explore the theme of America, its taxation, Washington and its politics, the need for the Spanish to get gold, the fact that they were oppressed? The rationalization of Paolo and the others that they must oppress the Indians to save themselves? Two evils for good?

11. The presentation of Finlay's motives for returning? The confrontations in Mexico, the importance of his journey, meeting the girl from the village and the man who was considered a fool, the importance of his saving them, his becoming a saviour figure and they his followers and messengers? The preparations by Paolo and Maltese to ambush Finlay and prevent his return? The visual presentation of the journey on the horse. the landscapes, the seascapes?

12. The portrayal of the negro agent. the laconic enigmatic figure. his seeming to be able to be bought off by the gunmen, his help of Finlay during the siege, the details of his character, his confrontation with Paolo? Comment on the fact that the gain representative of American government was an African American?

13. The build up of the fire in the house and the siege of Finlay? As a high dramatic point, action sequence?

14. The introduction to Finlay's wife, her life at home after his departure, the pressures by Paolo, Paolo's memory of the wedding, the wife's memory of the wedding? Her visiting Finlay to bargain with him? Her willingness to compromise. his explanation of why this was impossible? The fact that she was converted to this point of view?

15. The dramatic build up in the preparations for wrecking the ship for gold, the plans about the beacons, herding the Indians into the church and the preparations for massacre, the various fights and Finlay's saving them?

16. The presentation of Finlay hanging, the saviour figure and his death? The importance of his wife helping him in his escape?

17. The visual presentation of the final duel as a ritual thing, the nature of swords instead of guns, Paolo's death?

18. The use of the Western convention of riding into the sunset? The listing of those who survived the film and those who died, the motivations for each? Finlay's followers, the black agent and his torture, Paolo, Maltese?

19. The strength of the exploration of human themes, friendship, love and loyalty, human conscience and responsibility? Heroism?

20. The exploration of social themes, the relationship of indigenous people with colonising people. the nature of society, rituals? The importance of the ritual on the beach by the Indians during the duel, its symbolism and significance?

21. The exploration of political themes, oppression, taxation, empire building?

22. There was much violence in the film, especially visually. Its necessity, effectiveness?

23. The parable and allegory effects on an audience, for understanding the world of the 70s, for doing something about it?