User reviews

The Gun Hawk is directed by Edward Ludwig and collectively written by Jo Heims, Richard Bernstein and Max Steeber. It stars Rory Calhoun, Rod Cameron, Ruta Lee, Rod Lauren, Morgan Woodward and Robert J. Wilke. Music is by Jimmy Haskell and cinematography by Paul Vogel.

Gunslinger Blaine Madden (Calhoun) is pursued by the law after a shoot out he was forced into results in him killing two men. With young protégée Reb Roan (Lauren) in tow, Madden makes his way to the town of Sanctuary, a place that ultimately holds the fate cards of the man known as El gavilán.

Still trying to reform the world Ben?

It's pretty stock formula on a thematic front, and for sure there's some creakiness in the script and from some of the actors around Calhoun, but there's a big pay off here. It's something of a rare little Western this one, out of Allied Artists it proves to be one of the better B Westerns from the company. The main interest value comes with the burgeoning relationship between the aged gunslinger and his hot headed punk companion. It's through this relationship that the finale gets its emotional wallop, something which lifts the picture out of the ordinary.

Sanctuary. If you kill there you have no place else to go.

On the outskirts of the relationship between Blaine and Reb there is the lawmen in pursuit, one is wise and has a soft spot for Madden, the other is angry and only sees death for Madden as a positive result. Into the mix comes Ruta Lee (ravishing in looks, staid in acting) as the love interest, though it's nice to report that this strand of the story never cloys and in fact enhances the Madden character arc. Robert J. Wilke and Lane Bradford file in for villain duties, with the former energetic and doing a nice line in brash outlaw who is destined for a fall.

Back off. BACK OFF!

In spite of being able to spot the obvious cheap aspects of the production, the tech credits are rather decent. There's some nice outdoor photography from the Bronson Canyon locale, set design is colourful and costuming is very pleasing. On the flip-side, though, Haskell's music becomes repetitious and therefore irritating, while the make-up department go over board for the key scene at the end. But with Calhoun turning in a very effective ghoulish performance and that finale of some great reward, The Gun Hawk is worthy of being better known and supported. 7/10

Two veterans of the B western movie genre Rory Calhoun and Rod Cameron team up for The Gun Hawk. Cameron plays an upright sheriff who saw some promise in Rory Calhoun and wanted to make him his deputy. But Calhoun preferred the dark side and became a notorious gunfighter.

Calhoun is back in Cameron's town for some personal business. But a gunfight that resulted in the accidental killing of his father sends Calhoun on a vengeance quest rather than let the sheriff handle it. He kills the two shooters and now has Cameron and his deputy Morgan Woodward after him. Cameron wounds him in the right arm, Calhoun's shooting arm.

But Calhoun has another scheme in mind. He's the kingpin in a town called Sanctuary, an outlaw town. Calhoun's also got his girl friend Ruta Lee there as well. He'll need her presence as his gun hand is out of commission.

Both Cameron and Calhoun are shown to good advantage, Calhoun having the more complex part in The Gun Hawk. Also look for a nice performance by Rod Lauren as a young kid who both Calhoun and Cameron are courting. Yet another young man of promise.

Definitely a must for fans of the B western.

Under a B western outward appearance this rare movie shows some interesting qualities. You would think of a B western if you consider the cast (Rory Calhoun, Rod Cameron, Ruta Lee) but that is not totally exact. This Gun Hawk ("El gavilán pistolero" in Spain) has got influence of many good genre works (the topic of a gunslinger who wants retire himself is a classical). The inexorable fate plays his cards never mind the human desire does. The movie es correctly made, the color photography with bright painted rooms, like in a theatrical decor, announcing the upcoming death, an the credit ballad music inspired at the cowboys song telling a story (Marcucci and Faith "A Searcher for Love") are excellent too. It has got some comedy notes, a bite out of the blue. I will said at last the village, Sanctuary, keeps similitude with a Spanish place, Guadalest, near Alicante at Mediterranean sea.

A gunslinger, chased by lawmen for a killing, makes his way to an outlaw hideout called Sanctuary. Along the way he teams up with a young punk who has a yearning for "a good fight and a bad woman". The law tries to take the gunman out of the compound but things took another turn. Average western.

This B Western is surprisingly not too bad. Some half way decent acting, a few laughs, a fair story plot, some action and of course the very beautiful Ruta Lee. This movie develops the characters pretty well and there is definitely some interest in how they interact and how things will work out in the end. Rory Calhoun is always likeable despite his only ordinary acting ability. He somewhat sleep walks through most scenes and is mostly devoid of emotion, yet somehow he manages to make his role interesting. . Rod Lauren steals the movie as a young, upstart with a good heart. In a somewhat weird scene, Lauren jokes about jumping out a window or shooting himself. Some 20 years later, he committed suicide after being a suspect in his wife's brutal murder. Not the greatest movie, but good for a stormy, rainy night or a boring Sunday afternoon.

Sheriff Rod Cameron once offered Rory Calhoun a deputy's badge out of friendship, but Calhoun didn't want it. Now briefly in Cameron's town, he makes friends with hotblooded Rod Lauren and kills two men who kill his father, barfly John Litel. Now Cameron is after him for the murders, as Calhoun and Lauren make their way to a sanctuary town near the Mexican border.

It's the last movie directed by Edward Ludwig -- he would helm one TV episode three years later, then retire -- and there are a lot of troubles with it. Cameron moves and speaks as if his corset is hurting him, Jimmy Haskell's score makes this seem more like a long TV episode than an actual movie, and the script is busy and muddled. Ludwig directs as if the Production Code is still in effect. Saddest of all, it's John Litel playing Calhoun's drunkard father for a brief, inglorious moment on the screen.

On the plus side, cameraman Paul Vogel does some nice work shooting the Bronson Caves, but it's a movie that thinks it's saying something important but mumbles as it does so. With Ruta Lee and Morgan Woodward.

Edward Ludwig was mainly known for his adventures yarns: CARIBBEAN, WAKE OF THE RED WITCH, JIVARO, SMUGGLER'S ISLAND, FLAME OF THE ISLANDS, though he also gave some other genres stuff, horror: BLACK SCORPION; crime. LAST GANGSTER; and war/ FIGHTING SEABEES; Also I admit a couple of westerns such as VANQUISHED and the one I am talking about now. This is a typical mid sixties western, not speaking of those starring the Duke, directed by the likes of Burt Kennedy or Andy McLaglen in the pure forties, fifties and Jack Ford tradition. No I speak of those westerns which were somewhere the transition between Ford and Peckinpah. Westerns with a bit of bittersweet taste and melancholy; for instance Dick Thorpe - also last stand, what a coincidence - THE LAST CHALLENGE - with of course nearly the same scheme as GUNHAWK, or those B westerns produced by Paramount pictures and AC Lyles, during also the early sixties, and starring old timers such as George Montgomery, Yvonne de Carlo, Richard Arlen. And don't forget last Spencer Gordon Bennet's film, - one of the most famous and prolific serial maker with Bill Witney, who, for his last feature, as like Thorpe and Ludwig, gave us two tremendous little films, BOUNTY KILLER, and REQUIEM FOR A GUNFIGHTER. In one of them, Dan Duryea gave one of his best performances ever as a pure anti hero, who announced the downbeat late sixties and early seventies. So GUNHAWK is for me a terrific piece of work, especially for the B genre. Which i have always loved.

Reb Roan is released by Sheriff Ben Corey after a night in the drunk tank. Corey would like to reform him, but he's not willing. Gunslinger Blaine Madden (Rory Calhoun) returns to town after three years. The Sully brothers grab his drunken father and force him into an unfair gunfight. The brothers kill his father and he's looking for revenge. Ben insists that he should move on. Sanctuary is a hideaway settlement where all gunmen are honor-bound to not kill each other.

This starts with an interesting premise. In modern terms, this is Hotel Artemis. The movie seems to set up for some great action, but the story goes a different way. It wants to do something philosophical and the movie stalls out in the middle. I do appreciate where it goes. It's just not what I wanted.

A heavy, self important western (i.e. Trying too hard to "say something" significant about the human yadda yadda). Most of the oppressiveness comes from Jo Heims' too talky, too expositional and definitely too philosophical screenplay but Jimmie Haskell's score is not far behind and director Edward Ludwig, in his last film, is only too happy to attach himself to Heims/Haskell. As is Rory Calhoun, a poor man's Robert Taylor, Ruta Lee, a poor woman's Stella Stevens, and Rod Laurin, a very poor boy's James Dean. About the only person who manages to rise above the dreck is Rod Cameron, doing a more than passable aging lawman. Not Joel McRae in "Ride The High Country", which this film wishes it was, but close. Give it a C.

THE GUN HAWK was advertised in theaters as a typical action packed shoot em up western, which must have disappointed the drive-in fans who were expecting that. What they saw instead was a thoughtful, superbly acted character study written by Jo Heims, who would later write PLAY MISTY FOR ME for Clint Eastwood. Rory Calhoun and Rod Cameron both prove they are excellent actors, bring nuanced performances to roles similar to those they had both played in countless B westerns. Rod Lauren, Ruta Lee, and Morgan Woodward provide excellent support. I think this movie got lost in the era between the 50's B westerns and the 60's spaghetti westerns, neither of which does it fit comfortably in, which is a shame. Highly recommended!