Richard C. Sarafian directed Man in the Wilderness, with Jack DeWitt writing the screenplay. The film features Richard Harris, John Huston, Prunella Ransome, Percy Herbert, Henry Wilcoxon, Norman Rossington, and Dennis Waterman among its cast. Johnny Harris composed the music, and Gerry Fisher was responsible for the cinematography. "The story begins in 1820. Captain Henry’s expedition had spent two years trapping fur in an uncharted Northwest territory. Hoping to reach the Missouri River before winter arrived, the trappers and their boat—pulled by 22 mules—fought their way through a wild landscape. Once they reached the Missouri, they could sail south toward trading posts and sell what they’d gathered. What happened on this expedition is based on historical fact.” He was abandoned to die. He wouldn't forget it. At its heart, Man in the Wilderness tells the story of Zachary Bass (Harris). After being attacked by a grizzly bear, his uncaring Captain (Huston) leaves him for dead. Bass manages to survive both the dangers of nature and those posed by other people, driven by a desire for revenge. As he recovers and becomes attuned to the spirituality of his surroundings, he reflects on his past life and beliefs. It’s certainly a slow-paced film, with dialogue kept deliberately sparse, but the atmosphere is perfectly suited to what unfolds. The movie also possesses a surreal quality that significantly enhances the story's impact; carefully chosen images resonate powerfully in the viewer’s mind. There are some violent scenes, built around tension, such as the well-crafted sequences depicting the bear attack and another where Bass has to scare away two wolves so he can feed on a downed bison. The director handles the Indian attacks with sensitivity, which ultimately helps the ending achieve its intended effect. Moments involving rabbits also stand out, demonstrating the filmmakers’ sincere intention to tell an authentic and engaging story—particularly when it's just Bass facing off against nature. However, the narrative is somewhat uneven in quality. The exploration of faith and the use of flashbacks don’t quite mesh well together; the former introduces a sense of predictability, while the latter disrupts the “man versus wilderness” journey that Bass invites us to experience. This prevents the film from being entirely successful, which is disappointing given its many merits. The Almería, Andalucía location effectively stands in for the Northwest of America, and Gerry Fisher’s photography skillfully alternates between showcasing beauty and highlighting nature's harshness. Harris seems comfortable in this kind of role; he isn’t pushed to his limits, but still makes a positive impression. Huston delivers a solid performance, though he doesn’t have much to do either, and the rest of the cast gives performances that could have been given by any other working actor of the time. It's a film offering both rewards and frustrations, and while it isn't quite Jeremiah Johnson, it is definitely worth watching for anyone interested in period films centered on the “Man Versus Nature” theme. 7/10

Source on TMDB