SpuffyWeb Sadly Over-hyped

SnoReptilePlenty Memorable, crazy movie

Ogosmith Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Wizard-8 Although "The Jackals" is set in South Africa during the gold rush era, what will really strike viewers is how American most of it feels. The locations resemble American deserts, and the story and characters feel right out of an American cowboy movie. Only the occasional view of wildlife and native people break the illusion this is an American western. Anyway, I though the movie was a disappointment. It's cheap- looking at times, very slow, and directed in a style that severely lacks passion of some kind during key moments (like action sequences). Vincent Price gives a hammy performance, though his scenes all the same give some life to the movie. There is also a bizarre musical score that sounds WAY out of place for this type of movie. I would only recommend the movie for viewers who are really curious about what a western made by South Africans would look like, and even they might be squirming in their seats at times.

utgard14 Remake of Yellow Sky set in South Africa. Vincent Price gets top billing as the only star in the movie, but his role is not the biggest. The plot is about seven bank robbers who happen upon a ghost town. The only people in the town are gold prospector Price and his daughter (Diana Ivarson). Vincent Price is generally worth recommending any movie for and he's the best thing about this one. Robert Gunner plays the Gregory Peck role from the original as the bandit who falls in love with the daughter. Gunner is OK but no Peck, to put it politely. Blonde beauty Ivarson makes for an unconvincing tomboy. Moving the setting to South Africa is the film's only original feature. I fail to see why they even bothered to do this as it adds nothing to an otherwise typical western. Dull movie.

TheLittleSongbird My main reason for seeing The Jackals was Vincent Price. And while he has given better performances before, he still gives amusement and sometimes creepiness to the role of the grizzled grandfather figure. Other redeeming qualities are the final gunfight, the most exciting and original of the fight scenes in the film, Diana Ivarson's beauty and the striking photography and scenery. There are however major debits with The Jackals, which I think outweigh the good things. The rest of the cast(particularly from tall and ruggedly handsome Robert Gunnar), and actually Ivarson is the same, are very stiff and do nothing with their cardboard characters, who are to me little more than Western cliché bookends. The violence is more at home in a network television programme from the mid-1960s, while the story is overall dull and bland as well as playing it far too safe. The dialogue, of which is very faithful to Yellow Sky, word-for-word often actually, because of the blandness of the pacing and story seemed very wordy and stilted here. While the score is really out-of-place, it is difficult to take seriously a jazzy xylophone-like score that adds nothing to the mood in a Western. Overall, has some bright spots like Price and the scenery but because of the story, the rest of the acting and the music especially The Jackals did little for me. 4/10 Bethany Cox

MARIO GAUCI This is a vastly inferior remake of YELLOW SKY (1948) – with the ghost town itself now becoming “Yellow Rock”. Apart from the fact that it features Vincent Price in a rare non-horror role from this period (he did appear in a few Westerns early in his career), the film’s most unusual aspect is the fact that it trades the original’s Death Valley landscape for the equally forbidding one of South Africa (with stock footage of wild animals, and Zulus instead of Indians); incidentally, I recently taped another African Western – UNTAMED (1955), with Tyrone Power and Susan Hayward – off Italian TV, which is a title that often turns up in this guise but I’d never managed to check out so far.Anyway, THE JACKALS duplicates the classic original scene-for-scene and virtually line-by-line; in fact, Lamar Trotti (who adapted the W.R. Burnett source novel to the screen in 1948) is credited as co-writer here as well, even if he had died way back in 1952! The other basic difference between the two versions – other than some ineffective name changes (for instance, the black-clad villain here becomes Dandy rather than Dude) – is that the remake is in color…though the Public Domain print I watched was so faded that day-for-night scenes are blatantly exposed as such! So far so good but, then, the rest of the cast is an anonymous bunch (though Diana Ivarson is O.K., certainly cute and, if anything, even more obviously masculine than Anne Baxter from YELLOW SKY); also, for whatever reason, the character played by Henry Morgan in the original is omitted altogether from the narrative this time around (and, amusingly, the actor taking over John Russell’s womanizing cowboy role looks and sounds just like Oliver Reed!). And, worse still, they’re all saddled with intrusive Australian accents! As for Price, though top-billed, his part is no bigger than James Barton’s in the 1948 film and he turns in a hammy performance, as was his fashion; for the record, he would return to the genre twice more in the next couple of years – both equally undistinguished films – MORE DEAD THAN ALIVE (1968; available as a DVD rental) and the Elvis Presley vehicle THE TROUBLE WITH GIRLS (1969; which I watched last year in tribute to the 30th anniversary from The King’s death). By the way, I should mention that the film is accompanied by a weird, inappropriate and frankly awful score. Though director Webb had previously helmed three reportedly efficient entries in the genre, this turned out to be a lackluster venture – shabby and lifeless where YELLOW SKY had been stylish and exciting – and it’s small wonder that it proved to be his penultimate work.