Texas rancher Sam Dent (Glenn Ford), heavily in debt, seeks to regain his fortune by escorting three Brahman bulls all the way to Brazil. When he arrives in South America, however, he discovers the purchaser is dead and a violent range war rages in their place.

Released in January 1955, The Americano was the second American western released that year – following John Sturges’ excellent Bad Day at Black Rock. Like that film, The Americano takes the conventions of the classic western and relocates it to a contemporary setting. Sturges’ film found its modern-day frontier by taking a train to a small town in the middle of nowhere. With The Americano, writer Guy Trosper and director William Castle go all the way to the Brazilian jungle.

The Americano catches Castle just a few years before he broke free from the studio system to independently direct a series of increasingly gimmick-filled cult horror films. Prior to going independent he was well-regarded in Hollywood as someone who could direct an engaging B-movie on a limited budget and schedule. This reputation is evident here. While the film struggles to overcome its limitations – mainly when the script requires the presence of wild animals – Castle manages to use an entertaining script and a strong cast to keep his audience happy.

Glenn Ford is playing to form as Sam Dent, yet another reluctant hero in a string of fundamentally decent men dragged into action because no one else will. In this specific case the film keeps Ford on the fence for much longer than usual; it is really in the final act that he fully commits to side in the conflict. Of course there is not much suspense about which side he will choose – this is not that kind of a movie – but thanks to strong supporting actors the decision does at least feel like a tough one.

Frank Lovejoy plays Bento Hermany, the American partner to the murdered Brazilian rancher. It is pretty clear from the outset that his intentions are suspect, but Lovejoy manages to deliver the role in a manner that seems particularly relaxed and likeable. By contrast Cesar Romero plays local bandit El Gato with an absolute maximum of noise and charm. It is a broad, heightened performance; many 21st century viewers will likely only know Romero from playing the Joker in the Adam West-led Batman (1966-68), and may be surprised at what a delightful screen presence he has. Trosper’s script gives Ursula Thiess considerable purpose and strength as Brazilian farmer Marianna, which she plays wonderfully. Abbe Lane plays a more traditional sort of part as Helena, a servant in Hermany’s compound with a sideline in spying and seductively dancing at parties.

While the film’s presentation of the Brazilian landscape suffers from budgetary limitations, it does offer a fairly sympathetic view of the local Brazilians themselves. Curiously the Brazilians also seem to mostly speak Spanish. There is certainly a strong sense of Dent following a typical ‘white saviour’ narrative, but then he is also ultimately up against a rich American pushing the locals off their own land – and both Marianna and El Gato get a lot to do in saving the day themselves. The Americano has a good heart, and acquits itself admirably despite limitations.

1955 West is a review project to watch as many western features from 1955 as possible, in order to gain a ‘snapshot’ view of the genre at its height. According to Letterboxd, there were 72 westerns released that year. You can see all of FictionMachine’s reviews of them to date by clicking here.