In the great opening scene of Sam Fuller’s FORTY GUNS, three brothers are coming down the trail on a wagon and collide head on with a menacing army of gunmen on horses, marching two by two in a long column, all following a woman on a white stallion (a “High ridin’ woman with a whip,” according to a song we hear later). They have no choice but to stop and just sit there watching, somewhat amused as their horses freak out. The camera follows the woman and her army and the title comes onscreen. Those must be the forty guns.
One of those brothers on the wagon is Griff Bonnell (Barry Sullivan), “a legal killer for hire” working for the Attorney General’s office. The other two brothers are his second gun Wes (Gene Barry, WAR OF THE WORLDS), and their little brother Chico (Robert Dix), who wants to help too but Griff won’t let him. I’m not sure why he brought him. Was he supposed to be babysitting? (read the rest of this shit…)
This movie has a reputation as kind of a mess. Admittedly it is a 2 1/2 hour broad comedy about paranoia right after the bombing of Pearl Harbor. In my opinion a 2 1/2 hour broad comedy about paranoia right after the bombing of Pearl Harbor was not necessarily one of the top two or three things the world hoped for as Steven Spielberg’s followup to CLOSE ENCOUNTERS OF THE THIRD KIND. But fuck ’em. It’s what they got and they oughta fuckin appreciate it. 
(aka MAKO: THE JAWS OF DEATH – but I got no clue who Mako is)
WHITE DOG is the story of a racist German sheperd. Fuckin Germans. (Just kidding.) The story here is about Julie (Kristy McNicol) a small time actress who runs over a white German sheperd in the Hollywood Hills one night. She brings the dog (who never gets a name, so we’ll call him White Dog) to the vet and pays for his treatment, then takes him in while she tries to find the owner.
