zardoz-13 James Goldstone made several big-screen movies and none of them seemed to connect. He also made a number of made-for-television movies. Who knows why he decided to remake King Vidor's "Man without a Star" with Kirk Douglas as a guitar-strumming cowpoke. Incredibly, "A Man Called Gannon" is as good as the Vidor film. The only objectionable element is the vocals that add nothing to this atmospheric oater about a veteran ranch hand and a tenderfoot from Philadelphia. The supporting cast is as strong as the two leads, Anthony Anthony Franciosa and Michael Sarrazin (two actors that I have never cared for), and John Anderson, Gavin MacLeod, James Westerfield, Eddie Firestone, David Sheiner, and let's not forget the gals: Judi West as a love-starved ranch owner and Susan Oliver as a soiled dove saloon prostitute. This is a beautifully lensed sagebrusher that doesn't appear to rely on previous shot footage, which Universal Studios had a nasty habit of falling back on in a pinch. First and foremost, "A Man Called Gannon" is a horse opera about cattlemen, barbed wire, and morality. This isn't a snappy Spaghetti western with a catchy title tune, gunplay galore, and men wearing six-gun every conceivable way on their hips, legs, armpits, bellies, etc. This is a believable, low-key, oater that draws on the strongest element in any movie or novel—solid characterization.

boisdegilbert I suppose somewhere there's someone who could tell your fortune by the way the spaghetti lays on your plate. Personally, I'd rather just eat the stuff. This is a western about water rights, barbed wire, cowhands and people who want to be cowhands, and women who want to love them, use them, or leave them. It was made during the V. Nam War and some would read into it more than is there. It's a western; I've seen better, I've seen worse. This ones not bad. Tony Francioso (Gannon) is awakened by a telegraph crew running the wire through his camp, and rides off as the credits roll to Dave Gruisins score and a song I haven't been able to get out of my head in 45 yrs, "A Smile, a Memory, and One Spare Shirt." Francioso and Sarrazin play master and pupil, and this rehashed horse opera moves along with a cast of familiar faces who do a yeoman job of one more western. Having seen the original, "Man Without a Star", I think Kirk Douglas overplays the part and Tony gives a more suitable, understated performance. It will surprise some and disappoint others, depends on your tastes and if its raining or not. But if it comes up on the tube, its worth a look. Either it catches you or it doesn't. I found it oddly compelling. The tune has stayed in my head a long time.

traverb1213 This movie is like a lot of others made at the height of the Vietnam War - I swear Hollywood was chucking out really bad movies just to take people's minds off the war (check out Burt Lancaster in "The Swimmer" some time.) Number 1: bad songs. This is a trademark of movies made between '65 and '71. Number 2 (or 1b): use of the harpsichord. Again, a key instrument in American movies made between 65 and 71. Then, there's the anti-hero (or two of them here.) I guess by 1968 / 1969, all the good western stories had been done. (Until Josey Wales, Dances with Wolves, and Unforgiven, that is.)This movie's writer and director must have said to themselves, "let's take the worst of the 1960's and put those characters in the 1880's." Let's imagine the Woodstock generation faced with a range war.

bux A watered- down remake of 1955's "Man Without a Star." And this one lacks the 'star' power (Kirk Douglas) of the original. The routine stroy of mentor and young tender-foot seems just that-routine. Franciosa lacks the 'chutzpa' to bring this one off...watch the original instead.