SparkMore n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Merolliv I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

Dana An old-fashioned movie made with new-fashioned finesse.

James Hitchcock The sixties brought us the Spaghetti Western and the Paella Western, and "Hannie Caulder", from the early years of the following decade, is a rare example of a British-made Roast Beef Western. Although it was shot on location in Spain and all the main roles are played by Americans- two British actors, Christopher Lee and Diana Dors, appear in cameos- it was made by Tigon British Film Productions, normally thought of as Hammer's main rivals in the British horror market. It formed part of a deal between Tigon and Curtwel, the production company run by Raquel Welch and her then husband Patrick Curtis, a deal which was also responsible for the horror film "The Sorcerers". (Despite Curtwel's involvement with "The Sorcerers" Raquel did not appear in that film).Jim Caulder, a settler in a remote part of the West, is murdered by the Clemens Brothers, three notorious outlaws. The brothers then proceed to steal Caulder's horses, set fire to his house and viciously rape and beat his beautiful young wife Hannie, leaving her for dead. Hannie, however, has survived, and swears revenge on the brothers. She meets a bounty hunter named Thomas Luther Price; the two become lovers and Price agrees to teach her how to shoot like a professional gunfighter.Like a number of earlier Westerns- "The Naked Spur" is an example which comes to mind- "Hannie Caulder" is essentially an examination of the ethics of revenge. Some films of this nature take the conventional view that two wrongs do not make a right and that it is wrong to take the law into one's own hands; such films generally end with the hero forswearing his quest for revenge. This viewpoint is here, rather surprisingly, expressed by Price, who tries to dissuade Hannie from killing for revenge. His arguments are twofold. Firstly, he is afraid that Hannie, with whom he has fallen in love, might be killed herself. Secondly, he warns her that taking revenge will change her forever. "Win or lose, you lose". Hannie, however, rejects these arguments. She tells Price that she wants to be changed forever, that she does not want to remain the defeated, humiliated woman that she is now. The implication is that Hannie can only achieve psychological closure by getting justice for the death of her husband and for her own violation and that as the official channels of law enforcement are closed to her- the local sheriff is far too cowardly to take on the bad guys- she has no choice but to become her own avenger. Raquel Welch's time as a major Hollywood star was relatively brief, lasting roughly between 1966 and 1976, and because of her "sex symbol" reputation she was offered plenty of roles which were designed to show off her face and figure more than her acting talents. "Hannie Caulder", however, is one of her finest performances. Westerns with a female protagonist were comparatively rare; Joan Crawford's role in "Johnny Guitar" was one of the few exceptions, and even that film bore the name of a male character. Women in Westerns were often meant to be the peacemakers, such as Grace Kelly in "High Noon", but Raquel makes Hannie into a superbly iconic avenging angel, the incarnation of justice in an unjust world. Robert Culp is also good as Price. With his spectacles, greying beard and soft voice, he appears a mild-mannered character, but appearances can be deceptive. As a professional bounty-hunter he is happy to admit that he kills men for money. ("Can you think of a better reason?") His surname Price, like that of Clint Eastwood's Munny in "Unforgiven", suggests that he is a man for hire. And yet he is also a man capable of strong emotions, shown in his feelings for Hannie. There is also a good cameo from Lee as Bailey, the gunsmith whom Price hires to build a custom-made revolver for Hannie. Burt Kennedy acted both as director and as scriptwriter, and seems to have been more proficient in the former department than in the latter. The film is well directed, but there are a number of faults with the plot and with the characterisation. The mysterious character known as The Preacher is never well integrated into the story, despite the important part he plays in one key scene, and we never learn why he should have got involved. More importantly, the way in which the Clemens brothers are portrayed adversely affects the film. The reviewer who described them as the Three Stooges transformed into murderous psychopaths had it about right. On the one hand, we are supposed to accept them as dangerous criminals, and they do manage to kill several people in the course of the film. On the other hand, the sense of danger which they pose is constantly being undermined because Kennedy cannot resist the temptation to send them up and treat them as figures of fun, hopelessly incompetent and forever bickering with each other. (In one scene they use too much explosive while blowing open a safe, with the result that they destroy all the money inside). "Hannie Caulder" is one of a number of decent Westerns made during the "twilight years" of the genre in the early seventies. (Very few were to be made in the latter years of that decade). It could, however, have been a better one had the heroine been confronted with adversaries more worthy of her steel. 7/10

SnoopyStyle Brothers Emmett (Ernest Borgnine), Frank (Jack Elam) and Rufus Clemens (Strother Martin) are ruthless murdering bank robbers. They escape the troops and find station manager Jim Caulder. They kill him and steal the horses. They rape his wife Hannie (Raquel Welch). They leave burning down her home. Bounty hunter Thomas Price (Robert Culp) comes looking for water for his horse. After hitting him on the head, Hannie hounds him to train her so that she can seek revenge.This is a simple revenge western with a super hot Raquel Welch. She's really hot. I mean super duper hot wearing that blanket without pants. The rape scene isn't too disturbing with most of it suggested rather than actually performed. I like the training scenes. The brothers could be ignored more. Their bumbling argumentative ways are not that funny. They're really not that important other than being ruthless villains. Robert Culp is a nice bounty hunter. It would probably be better if the brothers split up so that Hannie can hunt them down one at a time.

RavenGlamDVDCollector Let's get one thing straight. This is not a good movie. It is quite clearly a bad movie. But! It does have a lot of good things going for it which were done just right. Such as having cast Raquel Welch. Who unfortunately cannot really act, but as far as looks are concerned, she was the obvious choice to be Hannie Caulder. The bit where she comes walking dazedly out of the burning house to find her dead husband and then having to bury him... She is just 100% great here! But the script is junk, the rape scene has an unfortunate comedic effect with that erratic guy running out of the house (??? I just don't understand), the three bad guys were at times too comical like they shouldn't have been presented in a movie like this. And the male lead was poorly represented in the script, and what was the point of Christopher Lee in the movie? Simply to give a job to a friend of the director or what?Enough holes in this one to ride through it on horseback. Inane script does have better moments, like those wise words "Win or lose, you lose, Hannie Caulder" but plot is erratic shambles.Should have taken Raquel on an acting course before the movie. Proper motivation! Then this might have been great if only they got their asses in gear with a proper plot.I do regret that my DVD box cover is not the one with the smart poncho pose. To make it worse, it is that misleading image of Hannie posing all chummy with the bad guys. How inane is that?Movie really shouts out for a remake. There are, of course, many such movies. But I am talking about an actual HANNIE CAULDER 2015 with a Raquel Welch lookalike complete with horses and six-shooters and a burning farmhouse, BUT A MUCH IMPROVED CONCEPT THIS TIME.

ferbs54 In the third of what might be considered Raquel Welch's Western trilogy (1968's "Bandolero!," 1969's "100 Rifles" and the picture in question here, 1971's "Hannie Caulder"), we find the late-'60s' foremost sex goddess in very fine form indeed, despite the absence of bikinis, fur lined or otherwise. "Hannie Caulder" is a British picture that was filmed in Spain, though set in the American Southwest and Mexico; does its best to emulate an Italian spaghetti Western; and has as its star a woman of mixed Bolivian/Irish descent. (I will give your mind a moment to absorb this international stew while I fondly reminisce on the jolting impact that Raquel Welch had on the puberties of millions of us baby boomer boys, by dint of her appearances in such mid-'60s films as "One Million Years B.C." and "Fathom.") In the '71 picture, Raquel (as the end credits inform us) IS Hannie Caulder, the wife of a rancher, whose life takes an abrupt turn for the worse when the bumbling Clemens Brothers--Emmett, Frank and Rufus (played, respectively, by Ernest Borgnine, Jack Elam and Strother Martin)--fleeing from a botched holdup, kill her man, gang rape her, burn down her home and leave her for dead. Fortunately for the widow Caulder, she soon makes the acquaintance of Thomas Luther Price, a renowned bounty hunter (supremely well played by Robert Culp), who reluctantly teaches her the arts of shooting and the quick draw. Thus, before long, Hannie is suitably prepared to ride down the ol' vengeance trail....Though "Hannie Caulder" tells what is in essence a simple story, it is at least a compact one, with little flab. The picture is quite gorgeous to look at (and no, I'm not referring to Raquel here), with stunning scenery and color; a handsome production, to be sure, largely due, I suppose, to producer Patrick Curtis (Welch's husband at the time). The film sports a wonderful Western theme, thanks to Ken Thorne, and director Burt Kennedy (who had previously helmed such popular oaters as "The War Wagon," "Support Your Local Sheriff" and its follow-up, "Support Your Local Gunfighter," and the Frank Sinatra Western "Dirty Dingus Magee") adds some imaginative touches (I love that POV shot down a rifle's double barrel!). As for Hannie's nemeses, although the "Maltin Movie Guide" refers to the Clemens Brothers' antics as "Three Stooges"-like, I prefer the description of them to be found in the wonderful film book "DVD Delirium 3": "a malodorous triple-scoop of pond scum"! Still, without their shenanigans, this film would be virtually devoid of humor, although Moe, Larry and Curly were never as seriously nasty and violent as this trio. (The film, by the way, DOES get fairly violent at times, with lots of spurting red stuff; Peckinpah might have been pleased with it.) It must be added that although Racky's acting is just fine here, she really doesn't get to stretch her thesping abilities all that much, and her sexuality is de-emphasized behind an Eastwoodesque poncho (although her shrunk-to-fit leather breeches do look pretty hot on her). Still, the lady looks great; she'd look good in burlap sacking, of course, and still, remarkably, looks fantastic today, a full 40 years later. By default, it is Robert Culp--here three years after his three-year stint on TV's "I Spy"--as the bearded, bespectacled but supercool bounty hunter who easily walks away with the film's acting honors; he is simply terrific. Besides his always welcome presence, "Hannie Caulder" gives us a nice supporting role by Christopher Lee as an extremely talented gunsmith, as well as '50s sex goddess Diana Dors doing a cameo as a bloated bordello madame. In all, a pretty darn good Western, with a satisfying resolution. If "Bandolero!" taught us that it is not a good idea to force your "sexual favors" on a Mexican woman who is anywhere near a six-shooter, "Hannie Caulder" drives home a similar message threefold...with a vengeance!