Four For Texas is a western too preoccupied with sex and romance to enthrall sagebrush-happy moppets and too unwilling to take itself seriously to sustain the attention of an adult. The screenplay [from a story by director-producer Robert Aldrich] is a choppy and haphazard dramatization of a feud between two soldiers of fortune (Frank Sinatra and Dean Martin) who ultimately have to join forces in vanquishing the threat of their mutual enemies, a treacherous banker (Victor Buono) and an irresponsible, incredibly hapless gunslinger (Charles Bronson).
Four For Texas is a western too preoccupied with sex and romance to enthrall sagebrush-happy moppets and too unwilling to take itself seriously to sustain the attention of an adult. The screenplay [from a story by director-producer Robert Aldrich] is a choppy and haphazard dramatization of a feud between two soldiers of fortune (Frank Sinatra and Dean Martin) who ultimately have to join forces in vanquishing the threat of their mutual enemies, a treacherous banker (Victor Buono) and an irresponsible, incredibly hapless gunslinger (Charles Bronson).
Concern for the characters is never aroused by the screenplay, and the casual manner in which it is executed by the players under Aldrich’s direction only compounds the problem.
Sinatra and Martin carry on in their accustomed manner, the latter getting most of what laughs their are. The film is loaded with distracting cleavage, thanks to the presence of Anita Ekberg and Ursula Andress. (Stacked up alongside Ekberg’s stupendous proportions, even Mae West might seem anemic.) Buono, as the unappealing, dyspeptic and conniving banker, and Bronson as the gunman, make an impression.
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Editing leaves something to be desired. At least one scene has been cut out that is still referred to in the dialog of a subsquent scene.
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