For its flaws, the film cannot be slighted completely. It may not be a love story, as there is no romantic expression between Sara and Hogan, but it does find a satisfying ending in Hogan’s reassessment of his personal priorities. Its balance of slowness and frisson, along with MacLaine’s energy (Eastwood is fine here but provides little that he does not in other roles), and Morricone’s score, makes this a special film that should have more recognition. Just not, perhaps, as a Budd Boetticher film.
June 22, 2017