More Dead than Alive (1969)

Who payed the critics

Don't listen to the negative reviews

The film makes a home in your brain and the only cure is to see it again.

Great movie. Not sure what people expected but I found it highly entertaining.

Although I am a big fan of Westerns, the totally unfamiliar crew behind this production had me worried that it was going to be a listless affair and the routinely-staged prison riot at the beginning did not help matters any! While the end result is nothing to write home about, it is a sufficiently interesting and satisfactory mix of age-old and newly-emerging traits in the genre to keep one watching.What we have here is a typical story of a convict released after a long term in jail and being met by hostility and challenge once his true notorious identity is discovered; having said that, since he had spent 18 years in jail, I wonder how some of the characters he came across once outside managed to recognize him! The central role is played by Clint Walker who, after a beating inside a mine, gets looked after by painter Anne Francis(!) and hired as a performing gunfighter by traveling showman Vincent Price; this was his second Western outing after the inferior THE JACKALS (1967; which had been a plodding remake of William A. Wellman's 1948 classic YELLOW SKY).So far so old-fashioned: however, things get less predictable upon the introduction of the youthful characters of Walker's hot-headed, trigger-happy predecessor in Price's tent (who eventually guns down his employer in an unheralded bloodbath) and a mysterious stranger who keeps following Walker around and, shockingly enough, executes him right in front of Francis' eyes for the murder of his father (one of Walker's much-touted 12 victims). Even if the film is (surprisingly) available on DVD, I got to see it via a pan-and-scan transmission on the MGM Cable TV channel.

Clint Walker, still trying to find his niche as an actor post-"Cheyenne", plays a reformed gunslinger in 1891 Arizona who is set free after 18 years in jail; unable to find work because of his reputation, he takes a job with a low-rent traveling western show. This is the old plot about the once-legendary, now-rehabilitated killer who is constantly put in harm's way by folks hoping to boost their profiles by challenging him. As a young hotshot with a bitchy-sinister stare, Paul Hampton gives one of the most excruciating performances I've ever seen. His overacting is made all the more noticeable by Walker's solemn, funereal under-playing (as if he were going to the gallows any minute). If you do watch, see if you can figure out why the early jail-break sequence takes place AFTER a group of prisoners have already been hanged. The title, presumably a twist on the old "Wanted-Dead or Alive" ploy, is mildly condescending in this context--although it serves to describe the film's handling accurately. * from ****

Luke Santee's boys slip inside a fort(using caskets to hide in!)to rescue his brother out of a hanger's prison. Luke's brother is denied his chance to escape thanks in part to a prisoner named Cain who is soon let out as a rehabilitated man.Living a life outside bars without using a gun again, however, won't be an easy task. More mellow, with no interest in picking up a Colt, as proposed by traveling showman with cat-like grin, Dan Ruffalo(Vincent Price, in a wonderful change of pace, in a rare western role)for a role in his shooting gallery, Cain really wants to go legitimately straight, but in comes Luke Santee to make his life miserable. Roughed up by Luke and his men, no work available for released cons, Cain will have his hands full.Cain befriends a painter named Monica(the beautiful Anne Francis; Forbidden Planet)while encountering her in an abandoned town. Unable to hold a job due to his notorious reputation, he finally decides to join Ruffalo. Ruffalo has in his possession a Colt with 12 notches depicting the number of men Cain killed during his outlaw days before 18 years behind bars.Young sharpshooting Billy, very talented with a gun, who had idolized Cain, with dreams of living the life of a gunfighter, is the star of traveling show. Billy resents Cain(Ruffalo has a particular interest in him due to his draw of the crowd, bringing in big profit), and wants to upstage him, always engaging in intense arguments, often attempting to cause a gunfight.MORE DEAD THAN ALIVE carries that familiar theme of a man trying with all his might to escape his past, a past which haunts him wherever he goes. We see at the conclusion that maybe there's no way to avoid fate..a son, father, retired marshal still holding a grudge, there'll always be someone appearing out of the blue looking for revenge.Through the only friendship he's able to develop, with Monica, Cain could just maybe find the peace he's been looking for. He wants to help build a place with Monica as the two eventually fall of love.Billy, really immature even if he's good with a gun, is psychotic and unstable and it's only a matter of time before he'll be confronting Cain for a duel..interesting decision by the filmmakers, though, to go in a different direction with Cain getting the upper hand against his young rival.Particularly brutal is Price's fate, in slow motion, like a mutt in the street. I must say that I hated the music used in this movie, the upbeat score seems more suited for a slapstick comedy than a serious western about men with guns. Odd structure, too, setting chapters in the film through different seasons, also moving the pace a bit faster, eliminating chunks of story, like specific passages of time when life wasn't exactly kind to Cain(the plot is uninspired when it comes to the relationship between Cain and Monica, although Francis does what she can with a rather underwritten role). I also found the song which opens and closes the film particularly dire..it's a Dimitri Tiomkin knock-off that doesn't exactly work for this film, and, if anything, sounds really outdated and corny. Plenty of bullets and blood, though, including a spirited brawl between Cain and Luke within the old buildings of the abandoned town. Billy whimpers and sobs when anyone puts him in an uncomfortable position, and his fate shows how pathetic he is when the gun isn't available for use. I think the major flaw of the film is the diminishing of Luke Santee's character after setting him up in such a way at the beginning. Clint Walker is rather a bore, if I were to be truly honest, but he's a beefcake so I can see why he was used in the role of Cain. Paul Hampton really steals the film in the most colorful part of Billy, a certifiable headcase who stirs the pot, the one behind animosity, always a needling prick. Mike Henry is Luke Mantee, a mean criminal who isn't someone you hope to cross hairs with.

This is a western with great direction and a very good cast. It's not your run of the mill shoot'em up. I saw this movie many years ago and have not forgotten it. I have searched high and low for it, but, cannot find a copy anywhere. It's worth the watch!