This Movie Can Only Be Described With One Word.

Am I Missing Something?

One of the most extraordinary films you will see this year. Take that as you want.

Close shines in drama with strong language, adult themes.

Return of the Gunfighter is directed by James Neilson and adapted to screenplay by Robert Buckner from a story by Burt Kennedy. It stars Robert Taylor, Chad Everett, Ana Martín, Mort Mills, Lyle Bettger, John Davis Chandler and Michael Pate. Music is by Hans Salter and the Metrocolor cinematography is by Ellsworth Fredericks.Aging gunfighter Ben Wyatt (Taylor) receives a request to go aid an old friend who's in trouble. Upon arrival at the family ranch he finds that both his friend and his wife have been killed. Locating the surviving daughter, he teams up with hot headed drifter Lee Sutton (Everett) and sets about avenging the murder of his friend and the girls parents.By this time Robert Taylor was winding down his career and his life, 1967 would see him depart from the Western genre of film, how splendid to find he doesn't in the slightest disgrace himself here.His character is weather worn, a gunfighter tired of all the killing, of looking over his shoulder all the time. This proves to be perfect for Taylor, who gives the role a believable sense of pathos, the passing of time and that fate will not leave him alone hangs heavy. Breaking it down it's a straight forward narrative, where the one time bad guy is called on to use his deadly skills for some good, to rid the plains of some nasty sorts. The relationship with the young upstart (Everett the whitest teeth in the west) builds nicely, leading to a finale that attacks the emotions of the major players.There's a healthy quotient of action, decently staged by the tech crew, the Old Tuscon locations are nicely photographed, while support players impact with credit on the story. It's not all plain sailing, Salter's score is sometimes well in keeping with the era, but at other times it comes off like a Sccoby-Doo piece. Susension of disbelief is of course required, none more so than when Ana Martín goes about the town pretending to be a boy and everyone falls for it - she is simply too pretty to remotely pass as male, and the appearance of Butch and Sundance in the plot is most odd.Yet it's a lovely Oater this, feeling more like one from the 1950s than the tail end of the 60s. Highly recommended to Taylor fans and fans of traditional Western fare. 8/10

Return of the Gunfighter" was not Robert Taylor's last film. He did a couple of B productions in Europe, working into 1968. In October of 1968 he had a lung removed and did not work again. Nonetheless, "Gunfighter" is a suitable farewell. Taylor plays a reformed gunfighter, recently released from prison after serving 5 years for a bogus murder conviction. The character, Ben Wyatt, seeks only to live in peace but events make this impossible. When a friend and his wife are murdered, Wyatt must see that justice prevails.The meat of the story is the relationship between Wyatt and young gunslinger Lee Sutton, played by Chad Everett. A secondary motif is Wyatt's love for his "niece," Anisa, played by Ana Martin. It isn't a love triangle at all but a passing of the flame to the younger generation. Everett, a happy-go-lucky young man, learns to be a responsible adult by confronting the villain, Clay Sutton (Lyle Bettger), his older brother. Under Wyatt's influence, he faces evil and wins the young girl's love.Everett is charming and handsome as Lee Sutton. His self-centered playfulness is gradually replaced by a sense of morality and accountability. Ana Martin's acceptance of him as a suitor comes only as he matures. Martin had a better role than women usually do in westerns and handles it satisfactorily although not memorably. The supporting cast is uniformly professional and effective.The picture, however, belongs to Taylor. He is still handsome and his lined face conveys emotion with quiet authority. As others have said, no one rode a horse the way he did--his straight yet graceful posture, his easy control, his oneness with the animal. The pretty boy of the thirties has become a superb actor without ever being showy or "going Hollywood." It is disturbing, however, to watch his labored breathing, knowing what caused it. The last scene, where he walks away from the camera, alone in the street, is very moving.

I'm sorry, but I just couldn't get over seeing Chad Everett in this western film. Now I don't think he did a bad job, but seeing this handsome actor who is most closely associated with playing a TV doctor as a gunfighter took me by surprise--as I grew up watching him on "Medical Center".The film is one of Robert Taylor's last films. As he was older and more haggard, the writers did a good job in dealing with this instead of pretending he still was the man with matinée idol good looks. Here, he plays an aging gunfighter who is sick and tired of the violence--and he actually tried NOT to fight and would back down if possible. I liked this aspect of the film and it kept me watching--as well as my wife, who is NOT a fan of the genre.However, aside from both Taylor and Everitt doing a god job, the rest of the film is very, very standard. It's the usual big nasty guy with money versus the innocent farmers/ranchers. While I don't give the film super-high marks, it is well acted and interest interesting and a decent late appearance for Taylor.

Robert Taylor aged more strangely than any of the stars. From the beautiful young man that ravished Garbo in "Camille", he emerged from World War 2 ravished himself. I don't know a lot about him, but I suspect his war experiences had a major emotional effect on him that really showed in his face. Not only did he look worn, he also became far more interesting as an actor. Here he is 56, in the last two years of his life, and his craggy face and striking blue eyes portray a world-weariness that carries tragic weight. He is that often seen Western character, the famous gunfighter tired of killing. I believe Clint Eastwood must have based his character in "Unforgiven" on Taylor's performance here. Taylor makes this fairly ordinary Western extraordinary.