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Fish, rabbit, mountain lion, snake and spider come out for the opening credits, the second mule of the title is surely Clint Eastwood's taciturn gunslinger brought in from Italian Westerns for American study. (Buzzards circling the aftermath of a shootout are also God's creatures, it is pointed out, "why rob them of this nourishment?") The cactus-studded landscape is the perferct meeting place for a gunslinger and a nun (Shirley MacLaine), he's done with causes following the Civil War while she risks her life to help Juarista guerrillas. No miracles for the mercenary, just the mystery of the pious lady who surreptitiously puffs on a cheroot, is quick to gulp whiskey and lets profanities slip by once in a while. Quatorze Juillet in Chihuahua, the last stop after a bit of righteous sabotage. "We'd better hurry. I've never seen a train blown to hell before." Budd Boetticher story, Gabriel Figueroa cinematography and Ennio Morricone score, all at the service of Don Siegel's astringent consideration of the genre's classical-baroque crossroads. The African Queen is adjusted accordingly in the shadow of The Wild Bunch, with Eastwood's parched drollery harmonizing surprisingly with MacLaine's vital slyness. The glaring crucifix comes in handy during a brush with Yaqui braves, the arrow-pierced shoulder is cauterized with gunpowder and the exploding bullet is guided by the heroine. "An old Mexican way of livening up a party," a piñata full of dynamite, that is, integral to a relaxed fancifulness that also includes monasteries turned garrisons and tunnels underneath bordellos. Black habit into scarlet shawl turns out to be the ultimate transformation, the cowboy rides back into the desert happily disconcerted to have found his match. "Damn my eyes, I find that kind of touching." With Manolo Fábregas, Alberto Morin, Pancho Córdova, and David Estuardo.
--- Fernando F. Croce |