Io sono Valdez

The opening scene begins like a Sunday picnic/Turkey shoot: well-dressed couples in period costumes milling around, young boys plunking away with their new rifles. It takes a minute or so to realize that this is stand-off with a man sealed inside a log cabin. A few racial epithets later and we realize the man is (a) black and (b) possibly innocent of the crime he is accused of.

Director Edwin Scherin lucked into a fine script co-authored by Elmore Leonard, one of the pioneers among popular writers to take up the subject of racism in best-selling detective and action novels. He uses Burt Lancaster, the title character, judiciously at first, having him enter inconspicuously and a little awkwardly, like a man who knows he is out of place. But soon Lancaster assumes control of the deadlocked situation, and but for the interference of a trigger-happy shooter (Richard Jordan), almost manages to end it peacefully.

This scene sets off the plot events that follow, as Valdez tries to obtain money to compensate the man's Native American widow. Most of the action - except for the bizarre humiliation of Valdez at the hands of a wealthy gun-runner - follows standard formulas, but Lancaster underplays his role so well that the clichés turn to his and the movie's advantage. Add solid supporting roles by John Cypher, Susan Clark, and an offbeat ending, and you have a surprisingly engaging Western that delivers what we expect and then some.