Chato's Land

Chato's Land

Rating: FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! empty skull, sniff.
Release Date: 02 April, 2002

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Chato's Land Reviews


Must have for Bronson fans FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY!
Excellent Bronson flic. It's not hard to see how Bronson and Winner moved onto the Death Wish story line with a plot like this.

It's an amusing game to spot parallels between scenes in Bruce Lee films and Bronson's. Lee was a huge Bronson fan and copied moves and even clothing from many of Bronson's movies.

`Back off, Lawman.' FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! FULL SKULL BABY! empty skull, sniff.
With those three words of unheeded warning (possibly the longest continuous sentence Bronson has in this picture), the Mimbreno Apache Chato(Charles Bronson) begins an elusive flight from a motley posse of citizens led by an ex-Confederate captain (Jack Palance) seeking to punish him for the killing of a white man into the barren wilderness of the Arizona desert.

This is a great minimalist western with a fine cast (particularly the three villainous Hooker brothers - Simon `the psychologist from Psycho' Oakland, John `Papa Walton' Waite, and Richard `Duncan Idaho of Dune' Jordan). Bronson here is less of a character than a force of nature who, when pursued to his limits (and after giving his hunters ample chances to turn back, slitting their waterskins, running off their horses, and generally discouraging them), turns on the posse and starts eliminating them one at a time.

The strength of this western is the writing. All of the posse members, though most of them are unlikable, are well-fleshed out. The three over-sexed, bickering brothers (whose familial loyalty ultimately leads to their destruction), the silent but apt Mexican tracker, and the two foreigners who are among the first to realize this vengeance quest has spiraled well beyond its origin (`For God's sake, don't call it justice...' says Roddy McMillian's Scottish farmer and `We don't belong here, Gavin,' says Paul Young's Irishman). Palance is a standout as the Confederate captain who seems at first to take pleasure in the hunt and leading men again, but who gradually loses control of his subordinates.

As stated, Bronson is more of a cunning force to be feared when he is shown at all, but he does bring a concrete humanity to his Apache fugitive, particularly in the scene where he is reunited with his family in their desert stronghold. He exudes strength, and his physique and countenance seem to have been cut from the sandstone all around. He seems absolutely inscrutable (as the land is to the white men), but when he dispenses death, there is a cold certainty in his expressions.

Good locations - abandoned wickiups, empty desert, jumbled stone and cavernous arroyos all the washed out color of a bone long in the sun makes it seem as if these men have ridden right into hell (but then this `hell' is Chato's land). There's a great line where Palance observes that `white men see a land where nothing grows...they call it hell and give it no further thought. But to the Apache, this land speaks to him, whispers to him. He expects nothing from it...' (paraphrasing). The tried and true `hunters become the hunted formula' with a meaningful undertone that sets it above the usual fare. Great film with a memorable open ending. Does he or doesn't he? Recommended for Bronson fans. This is one of his better flicks.

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