the leading man is my tpye

Purely Joyful Movie!

The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

¨Guns of the magnificent seven¨ (Paul Wendkos,1969) with George Kennedy is a thrilling and truly thunderous sequel next to original and considered to be one of the best . Acceptable following co-produced by US/Spain and filmed in Almeria , Andalucía and Hoyo de Manzanares's Western-film town , Madrid , where were shot lots of Paella/Spaghetti Westerns in the 60s and 70s . This is the third in the original series of four "Magnificent Seven" movies , as The magnificent Seven are back and they don't aim to please . This sequel to ¨Magnificent seven¨ is well played George Kennedy as tough gunslinger named Chris who along a misfit group of gunslingers , all of them set off in rescue a Mexican revolutionary . As one day soldiers of the dictator Porfirio Diaz capture a rebel leader called Quintero (Fernando Rey) . His deputy (Reni Santoni) offers a reward to free Quintero and he sets out to look for Chris , the leader of The Seven for help . Chris is decided to take a squad and strike a blow against the Mexican army and free the captured leader of the revolutionaries . To carry out this assignment Chris has to join a misfit bunch of gunfighters . As Chris and his buddies (James Whitmore , Monte Markham , Bernie Casey , Scott Thomas , Joe Don Baker) , each of whom comes for a different reason , must free a Mexican revolutionary imprisoned by nasty Col. Diego (Michael Ansara) . All of them riding to the rescue of yet another bunch of downtrodden evil people and , at the same time , they get a chance to redeem themselves . Later on , the team develops a plan to secure an enemy attack and to pull off their mission against a fort strongly defended .Chris character was played by Yul Brynner in two occasions and one performed by Lee Van Cleef and George Kennedy . Brynner as a two-fisted Pistolero was very good ; in fact , it was Yul Brynner who approached producer Walter Mirisch with the idea of doing a Western adaptation of Akira Kurosawa's classic , The seven Samurais . Despite bearing no resemblance to Yul Brynner, including a full head of hair , George Kennedy and subsequently Lee Van Cleef took over the role of Chris Adams , played by Brynner in the first two films . Even Chris Adams' trademark dark clothing is gone , what remains is the steel resolve and affinity for cigars . Here George Kennedy as Chris is pretty well , giving a forceful interpretation . Besides , Monte Markham as well as James Withmore are unexpectedly lithe and other gunslingers are quite well defined . The remaining cast is a great help and they hold the picture together when it looks disintegrate after a promising start as did other follow-ups in the series . Wonderful ensemble cast playing unforgettable , moving roles with nice performers such as Monte Markham , Joe Don Baker , Frank Silvera , Reni Santoni and feature film debut of Bernie Casie . Being a Spanish/US co-production , there appears several actors usual in Spaghetti-Paella Western such as the Spanish Sancho Gracia , Jorge Rigaud and Fernando Rey playing his ordinary role as a good man . Rey is the only actor besides Yul Brynner to appear in two Magnificent Seven films , as he also played a priest in Return of the magnificent seven (1966) . The story is similar to previous entry , including customary outlaw band formed by an eclectic gang with diverse characters as well as speciality , as dynamite or guns . The film gets action Western , exciting riding , shootouts , it's fun and entertaining , although nothing new but displays a slight style . Despite the familiar framework of the screenplay , the interesting dialog is studded with memorably quotable lines and the flick arranges to raise some fresh entertainment from the vintage tale of the septet of Pistoleros . The movie contains some moment of violence and even touching on the relationships between the Mexican villagers and the Magnificent . Colorful as well as sharp cinematography in Panavision and Color DeLuxe by Antonio Macasoli , being filmed on location in Colmenar Viejo , and , of course , Almeria , Spain . As always , breathtaking and memorable musical score by Elmer Bernstein ; Elmer , whose score for this movie is one of the best-known ever composed , also wrote the soundtrack for the parody of this film, 'Three amigos' . The classic and stirring soundtrack helps highlight the action in the exciting climax . The motion picture was professionally directed by Paul Wendkos , whose works remain undervalued in USA . This is a decent though inferior sequel to the original and enduringly popular ¨The magnificent seven¨( John Sturges,1960) that is equally remake of ¨The seven samurais¨ (Akira Kurosawa) . After that , followed ¨The return of the seven¨(Burt Kennedy,1966), again with Brynner and and ¨The Magnificent seven ride¨ with Lee Van Cleef by George McCowan and continued with a TV series and a Television movie realized in 1998 . Although this film revisits the village from the first movie, it was shot in Spain , not Mexico and for once doesn't disgrace the original . Among the many reasons were the difficulties that occurred between the American filmmakers and the Mexican crew and government censors during the shooting of the first film .

Guns of the Magnificent Seven is directed by Paul Wendkos and written by Herman Hoffman. It stars George Kennedy, James Whitmore, Monte Markham, Reni Santoni & Joe Don Baker. Music is by Elmer Bernstein and Antonio Macasoli is the cinematographer. It's the second sequel to The Magnificent Seven which was based on Akira Kurosawa's Seven Samurai. Plot finds Kennedy and his assembled group of gunmen hired to rescue a revolutionary from a Mexican dictator. Routine but very watchable entry in the "Seven" franchise. It's nicely cast with Kennedy, Whitmore, Baker and Bernier Casey effective, and the photography from Macasoli is pleasing and makes the Spanish location feel period Mexico. There's also good value in the writing as regards the characters and their hang-ups, while the climax is high on noise and adrenalin. Clearly not a patch on the original film, and when it all comes down to it this film wasn't wanted or needed. But as it is, it's a decent time filler for those after a bit of standard gunslinging adventure. 6/10

After the let-down that was Return of the Seven, it's good to know that the Magnificent Seven are in safe hands again. Dropping Yul Brynner and bringing on Georege Kennedy to pay Chris was a risky move, but it pays off. He may not look anything like the Chris from the previous two films, but Kennedy brings confidence and gravity to the role that strangely deserted the ill-at-ease Lee Van Cleef when he played him the for the final sequels, The Magnificent Seven Ride. There is a Zapata-like plot with Chris freeing a Mexican revolutionary, but to be honest, that's about it for Spaghetti Western influences. A Euro-Western it might be labelled, but it's closer to John Wayne than Clint Eastwood. So, don't expect a bloody, gritty Spaghetti with priests ears being cut off and forced to eat it, but an enjoyable Sunday afternoon western that, while it isn't as good as the original and not a violent, savage and sickening death of beating in sight, as you get in the really good Spaghetti Westerns, it can be liked and remembered with fondness.

In a word, this is the Kennedy/Rey sequel. I liked it more than the first sequel (the one with Oates, and where Rey was a priest—in this one he is Quintero, a respected political and revolutionary leader). This one seemed to me the most politicized one. Anyway, the small army is funny and certainly more likable than the one in the previous film—here, we get Chris (played by a fat blonde slouch); PJ (a romantic loner, probably sick with _phthisis); Levi; Keno; Cassie (a Herculean punchy Afro—American); Slater (a fake Buffalo Bill, and a Southerner that will learn to appreciate the values of racial tolerance, etc.); Max (this is the Mexican element).So, it's a pretty multiracial army. A few of them survive at the end. As I've hinted in a paragraph below, Valerii made a similarly themed comedy western, much better crafted. And if you appreciate political history, I see no reason why you shouldn't appreciate fully the presence of Emiliano Zapata as a kid in this G. Kennedy/Rey movie.The two sequels are both Spaghetti western approaches. The second sequel might look slightly more stupid than the first, one could concede that, but it's certainly more funny and less ugly.One wouldn't exaggerate if he would state that the best thing in the Kennedy sequel (or, the second sequel) is the machine-gun—a machine-gun, a fortress—this reminded me of a Valerii comedy made with Coburn and B. Spencer.The decision of replacing Brynner with …Kennedy was sinister. Poor Kennedy must be here the most ridiculous lead in a heroic part in a Spaghetti western. And, as in the Oates film, here as well one gets the impression that the actors disliked each other, or hadn't a very good time together—lack of chemistry, some might call it.This approach is sometimes funny; otherwise, it's insulting in its naive (let's hope) underestimating of its audience.There is a certain change of perspective; in the McQueen film, the army was one of elite gunmen; in the first sequel (the Oates/Rey one), the gunmen are convicts, lowlifes, outlaws, anyway—nothing very fine (this was Burt Kennedy's way of amplifying—hundreds of peons and vaqueros, and a few bums as gunmen). The G. Kennedy film marks a return at the elite model—we understand that Levi, PJ, Cassie, Slater are legendary. Max is willing to learn (he is, if one might say so, the new Chico, the Chico of this film …); and Keno is simply weird and spooky.Kennedy is involuntarily funny and dis-likable throughout the film. But after he does his job, he surely looks as pleased as Punch.The McQueen film and its two sequels have practically one thing in common: the Elmer Bernstein score, so that the sequels could almost be qualified as Bernstein—exploitation.Both the sequels have, in essence, the nature of a commando action film.