|Gunslinger (1958 / 1993)|
|Writers:||Joel Hodgson, Mike Nelson, Trace Beaulieu, etc.|
|Starring:||Joel Hodgson, Trace Beaulieu and Kevin Murphy|
|The Plot: In this episode of Mystery Science Theater 3000, Joel is still trapped in outer space on the Satellite of Love and is once again forced to watch a dreadful movie at the hands of the evil Dr. Forrester. This time out he is given one of Roger Corman’s early outings, a western known as Gunslinger. The film details the events that come after a local marshall is gunned down in cold blood. His wife Rose Hood (Beverly Garland) shows the only guts in town as she takes up the marshall’s position and starts a hunt for the men who took her husband’s life. This draws her into a nefarious scheme by the local saloon owner (Allison Hayes) who may or may not have hired a contract killer to take care of any law in town!|
Joel and the bots do a clever job of pointing out the subtle, and not so subtle, omissions to continuity that pop up throughout the film. The guys do a great job at pointing out how obvious the actors are in waiting for their “marks” (a cue for them to step into an action, such as waiting for a sentence to end and then exiting or entering a room), and how Corman doesn’t even bother to hide these tiny little gaffes. The very best of these moments can be found during the film’s introduction. In this simple sequence we follow the character of Rose down a long street, that will become very familiar to the audience over the course of this movie, and then we watch as she enters into the Marshall’s Office. With the wide angle of the shot we can see two cowboys who sit on the side of the building and whom are quite literally waiting for nothing and not even having a conversation amongst themselves. When these two men see Rose enter into the Marshall’s office, right on cue they walk their horses to the front of the Marshall’s office and set up an ambush. The cue is as obvious as they come and it does not escape the wit of the MST3K crew who lampoon it mercilessly. There are moments that could have been scripted, such as a character entering into a scene and then quickly closing the door as if it were not their cue just yet, but for the most part these levels of ridiculousness are all very direct and obvious.