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After a character referred to as Prisionero Escapado (Rogelio Guerra) breaks away from captivity, one question lingers: Who does he chase? Anger was going to consume him and here comes a villain to ponder over. The troublemaker meets a gory fate thanks to an unrelenting killer loser. Targets prepared for a fight wage no less than four battles in the hopes of defeating another armed character, Esposo Abandonado (Pedro Armendáriz, Jr.). Why all this trouble? Well, what else would a killer be seeking other than the son of a bastard.
The two tangentially connect and follow their last lead, ending in yet another baton brawl. This leads them to a bar where El Pistolero has rented all the women in the establishment to be his for the night. After getting out of prison, Escapado wants some action and gets into a brawl with El Pistolero, but not to worry they become quick pals after. As it so happens, they bond over drinks and wild women as Escapado passes out from exhaustion due to the escapade.
Todos los hombres se embarcan juntos y Esposo contrata El Pistolero para ubicar a la presa y matarla. El que se la dio, por lo visto, se convertio en Sheriff (Quintin Bulnes) de un pueblo. Se esconde en una vieja Haciendo que transformaron en fortaleza. Estos tres no son de Dios, han de buscar la manera de entrar y matar. Y si logran eso no hay garantia de salir con vida. Amistad, traiciones y hombres malos de caminos torcidos pero con principios. Ren é Cordon, Jr’s Guns and Guts (1974).
Imagine a film with a prison break and four fist fights within the first 8 minutes of action. This gives us a strong idea of the plot. To put it precisely, there is a specific utilization of cinematic grammar that renders everything happening on the screen to be wild and yet makes so much sense. This is an entirely different form of western which does not come close to resembling movies like High Noon (1952) that pander to the steady charms of Westerns. Rather, the film actively attempts to identify the next big thing, taking inspiration from Spaghetti Westerns and epic films made by Peckinpah, The Wild Bunch (1969). It seems like this particular type of western is meant for people who have a craving for thrilling, burlesque and violent comedy. The problem comes in when one attempts to combine moral dilemmas with idealism which this film attempts to do by turning the idea of antagonists into protagonists. To be precise, these are bad men seeking a worse one to gun down in a fit of rage. Therefore, Guns and Guts serves as another template to set the context of the six guns and saddle sores era of the mythical West.
Nonetheless, Guns and Guts is not solely gloomy reflections on revenge and retribution. It is hilariously funny in places as well, such as one where a character is speaking in a voice over describing his preference for whores instead of “respectable women,” which serves as the initiation for an entire litany of “And that is why I prefer my whores” dialogue from a character who disparages the idea of marriage but, instead, aspires to be wealthy enough to purchase a brothel where all of the women will cater to a single male client: Him. It also has some of the most unique images where two different scenes of cowboys are shown peeing and one of them has an event that causes one of the protagonists to pee on his friend’s leggings and boots.
And this is also a clip where fistfights are extended and played at normal speed but a single gunshot victim can pause from thirty and above agonizing seconds to groooooooan and diiiiiie thanks to high speed photography. It is clear to see that what was about to be executed was fraudulent: a complicated gunfight with dozens of baddies trying to kill our “heroes” while contesting possession of a gatling gun. One can never hide the fact that the peckinpa owes him a few cervezas for his famous western, and it is evident that the film does so much respect towards The Wild Bunch. It seeks and takes advantage of that enjoyment as much as it can.
When compared to American standards, this production is quite inexpensive. Clearly, the filmmakers were able to reach for two cameras and approximately three different lenses, but they still piece themselves together and crafted a noteworthy piece of exploitation cinema. Is it the best western ever? Certainly not. While still demonstrating a lively picture with a couple interesting scenes, some chuckle-worthy dialogue, and special impressive homages or even rip offs of other movies? Oh Yes. El Pistolero is an epic moment in cinema. After the brawl, the two opponents walk to the bar with their El Pistolero serving them drinks. One of them shouts, “You can share my booze, but don’t touch my women!” To which his opponent responds, “Okay!” It leaves me in stitches so unexpected but funny. This material is iron age comic book material that is beyond entertaining.
Audiences looking for emotionally significant named characters will hit a wall. No one ever introduces themselves, and not a single character utters any other character’s name. Those who understand a bit of Spanish and look at the names above will see they are hardly anything more than labels: El Pistolero is a hired gunslinger, Esposo Abandonado is the abandoned husband, Prisionero Escapado is just an escaped prisoner… Yeah, this is a movie where people are referred to by their professions, not an identity outside of that. This makes things somewhat peculiar, and conversations particularly cautious when no one seems to be willing to state a single character’s Christian name or given name.
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