I am giving a "7" for the cast, and production. I have no problems with the performances of the six leads, and only wish Rita Moreno had been given more than a few scenes she did well as the singer in a cantina. But this might have been an "8" or "9" as a film western with a bit better care in the script.
Don't get me wrong - the story is not the most difficult to accept. Three men (Gary Cooper as "Hooker"; Richard Widmark as "Fiske"; and Cameron Mitchell as "Daly) are stuck in a Mexican sea town while their ship is being repaired. All are headed for the California Gold Fields (so the year is 1849 - 50 or so). While drinking together in a cantina (where Moreno is dancing - it is owned by her boyfriend Victor Manuel Mendoza, here as "Madariaga") they are all approached by Susan Hayward (as "Leah Fuller") to assist her in rescuing her husband (Hugh Marlowe as "John Fuller") who is an engineer exploring a gold mind. There was a partial cave-in, and he is trapped under the beams of wood. She is willing to pay any man who assists her $2,000.00 for his help. After some discussion Cooper, Widmark, Mitchell, and Madariaga agree to do it. They are aware of one catch - the location of Marlowe and the mind is deep within Apache territory.
The story continues as they follow Hayward to reach Marlowe, constantly aware of the Apache danger (they are traveling during a holiday that tribe celebrates by hunting white men), and they are aware of problems among themselves. While each has been willing to take a chance on the mission for the $2,000.00 fee, at least two of the mercenaries (Mitchell and Madariaga) see it as an opportunity to possibly get rich on that gold mine. Cooper and Widmark may think of it too, but both are smarter - the Apache danger is more important to consider than some possible wealth. Also both men are attracted to Hayward, although both are equally wary of her motives. It looks at first like she deeply loves her husband, but she isn't really behaving like she does.
Personality conflicts develop. Mendoza tries to leave a trail for his friends to follow along the route, but Hayward and Cooper keep destroying his sign posts. Mitchell makes a play for Hayward, and is forced to confront Cooper. Some ugly points about Mitchell's past (he's a bounty hunter with a dubious modus operandi) come out, but he is put into his place. Widmark watches - a cynical man of the world and card player. Yet he and Cooper manage to create a kind of friendly relationship, although Cooper wonders if he is the kind of man who could fully meet the dangers of this trek in hostile territory.
They reach the mine and find Marlowe alive - and get him out. But they find him a bitter man - he feels Hayward hoped to find him dead so she could keep the mind. It is obvious that Hayward's behavior towards him in rescuing him was not due to lingering love but to a sense of guilt that he got himself into this mess trying to prove himself to her. But whatever the reason, the six find themselves suddenly facing the problems of returning to the Mexican town they left 100 miles or so away, facing a now visible and deadly Apache threat, and hampered by an injured Marlowe.
On the surface the story is interesting enough, but too many points are left dangling. Cooper's Hooker is a Texas lawman (which is why he knows about Mitchell), but Widmark knows of Cooper (he can't quite place him) and we wonder if Cooper has left Texas for some similar black mark against him. Widmark's cynicism or wisdom is done well - but how he'd get that way is never explained. The complications of the Hayward - Marlowe marriage are given to us in one scene in their cabin when the others are out, and we really needed something to fill in the background.
Still the performances are good - uniformly well done. I note particularly (and probably few would think of it) Victor Mendoza. Mexico has had one of the best movie producing industries in the world for decades, that is only belatedly getting the attention it deserves in the U.S. It is more than simply a transplanted Luis Bunuel making films there, or Cantiflas' social comedies. Mendoza's character of Madariaga is as complex as Cooper's Hooker, Widmarck's Fiske, Mitchell's Daly, or Hayward and Marlowe's twisted Fullers. He is the jealous boyfriend of Moreno, and when he tosses a rival out of his cantina he comes over to the three gringos and explains to them why (he noticed their interest in Rita too). He is an opportunist setting up personal signs leading to the mine, but he is willing to keep his word regarding rescuing Marlowe. His final moments are memorable too, yelling defiance at his unseen Apache tormentors. Fact is, he was a fine actor, and while never an "Oscar" winner or nominee won several equivalent Mexican awards in his career (see his thread on this board).
GARDEN OF EVIL is a good western and worth watching. Just a bit more fine tuning and it would have been a great western.
Don't get me wrong - the story is not the most difficult to accept. Three men (Gary Cooper as "Hooker"; Richard Widmark as "Fiske"; and Cameron Mitchell as "Daly) are stuck in a Mexican sea town while their ship is being repaired. All are headed for the California Gold Fields (so the year is 1849 - 50 or so). While drinking together in a cantina (where Moreno is dancing - it is owned by her boyfriend Victor Manuel Mendoza, here as "Madariaga") they are all approached by Susan Hayward (as "Leah Fuller") to assist her in rescuing her husband (Hugh Marlowe as "John Fuller") who is an engineer exploring a gold mind. There was a partial cave-in, and he is trapped under the beams of wood. She is willing to pay any man who assists her $2,000.00 for his help. After some discussion Cooper, Widmark, Mitchell, and Madariaga agree to do it. They are aware of one catch - the location of Marlowe and the mind is deep within Apache territory.
The story continues as they follow Hayward to reach Marlowe, constantly aware of the Apache danger (they are traveling during a holiday that tribe celebrates by hunting white men), and they are aware of problems among themselves. While each has been willing to take a chance on the mission for the $2,000.00 fee, at least two of the mercenaries (Mitchell and Madariaga) see it as an opportunity to possibly get rich on that gold mine. Cooper and Widmark may think of it too, but both are smarter - the Apache danger is more important to consider than some possible wealth. Also both men are attracted to Hayward, although both are equally wary of her motives. It looks at first like she deeply loves her husband, but she isn't really behaving like she does.
Personality conflicts develop. Mendoza tries to leave a trail for his friends to follow along the route, but Hayward and Cooper keep destroying his sign posts. Mitchell makes a play for Hayward, and is forced to confront Cooper. Some ugly points about Mitchell's past (he's a bounty hunter with a dubious modus operandi) come out, but he is put into his place. Widmark watches - a cynical man of the world and card player. Yet he and Cooper manage to create a kind of friendly relationship, although Cooper wonders if he is the kind of man who could fully meet the dangers of this trek in hostile territory.
They reach the mine and find Marlowe alive - and get him out. But they find him a bitter man - he feels Hayward hoped to find him dead so she could keep the mind. It is obvious that Hayward's behavior towards him in rescuing him was not due to lingering love but to a sense of guilt that he got himself into this mess trying to prove himself to her. But whatever the reason, the six find themselves suddenly facing the problems of returning to the Mexican town they left 100 miles or so away, facing a now visible and deadly Apache threat, and hampered by an injured Marlowe.
On the surface the story is interesting enough, but too many points are left dangling. Cooper's Hooker is a Texas lawman (which is why he knows about Mitchell), but Widmark knows of Cooper (he can't quite place him) and we wonder if Cooper has left Texas for some similar black mark against him. Widmark's cynicism or wisdom is done well - but how he'd get that way is never explained. The complications of the Hayward - Marlowe marriage are given to us in one scene in their cabin when the others are out, and we really needed something to fill in the background.
Still the performances are good - uniformly well done. I note particularly (and probably few would think of it) Victor Mendoza. Mexico has had one of the best movie producing industries in the world for decades, that is only belatedly getting the attention it deserves in the U.S. It is more than simply a transplanted Luis Bunuel making films there, or Cantiflas' social comedies. Mendoza's character of Madariaga is as complex as Cooper's Hooker, Widmarck's Fiske, Mitchell's Daly, or Hayward and Marlowe's twisted Fullers. He is the jealous boyfriend of Moreno, and when he tosses a rival out of his cantina he comes over to the three gringos and explains to them why (he noticed their interest in Rita too). He is an opportunist setting up personal signs leading to the mine, but he is willing to keep his word regarding rescuing Marlowe. His final moments are memorable too, yelling defiance at his unseen Apache tormentors. Fact is, he was a fine actor, and while never an "Oscar" winner or nominee won several equivalent Mexican awards in his career (see his thread on this board).
GARDEN OF EVIL is a good western and worth watching. Just a bit more fine tuning and it would have been a great western.