A Man Called Sledge, directed by Vic Morrow—who also co-wrote the screenplay with Frank Kowalski—features James Garner, Dennis Weaver, Claude Akins, John Marley, Laura Antonelli, Wayde Preston, and Ken Clarke in its cast. Gianni Ferrio composed the music, and Luigi Kuveiller was responsible for the cinematography. Luther Sledge (Garner) is an outlaw who, upon learning about a large gold shipment being held at a prison, gathers his gang to carry out a risky theft. This Pasta Western, filmed in Technicolor/Techniscope in Andalucia, Spain, stands as a fascinating and enjoyable entry within this particular subgenre of Westerns. From the beginning, it’s clear that Garner is portraying a character unlike any he’s done before; he isn't heroic, all-American, or a charming rogue—he's someone unpleasant, rough, and driven by criminal behavior. The story also includes an unusual element: gold being stored within an active prison, which is naturally well-protected and seems impenetrable. Still, Sledge and his crew have plans that give the narrative considerable momentum. The situation seemed impossible to resolve! Despite occasional moments of humor, like a memorable organ sequence and Akins’ constant sarcastic remarks—both spoken and visual—the film has a dark tone; there will be violence, and other negative aspects of human nature are revealed. Morrow clearly understands the conventions of Pasta Westerns, both in terms of visual style and character types. We see camera zooms, low-angle shots looking up, and spins, while the characters range from foolish to greedy—to nervous and simpleminded—and even a man who howls! The story unfolds against various settings, including a snowstorm, an arid landscape, a steamy bar, and most importantly, the imposing prison that’s central to the plot. Morrow uses these visual changes to advance his narrative. I would have done anything for you Sledge! There are several great scenes, particularly those involving action, notably a thrilling jailbreak sequence where we see impressive stunt work as dynamite and a Gatling Gun join in with the usual bullets and bloodshed. Card games feature prominently, as do crosses—or crucifixes—the latter providing some striking (and frightening) imagery. Throughout it all, Ferrio’s varied musical score perfectly captures the essence of a Pasta Western. Even the grating theme song is hauntingly chaotic and appropriate when the film reaches its conclusion. With a largely American cast delivering solid performances, and Morrow demonstrating his skill at adhering to genre expectations, this is an undervalued movie that deserves either a first viewing or a fresh look. 7.5/10

Source on TMDB