 Proof that the acorn doesn t fall far from the tree comes in this film produced and directed by Al Adamson, son of the 1930 s several-doors-down-from Poverty Row director/producer Victor Adams/Denver Dixon.Despite adding nudity and the rape of an Indian girl staked face-up on the prairie,Technicolor and Techniscope,an 88-minute running time that the old man would have gotten 2.5 movies out of, and a cast filled with once-had-a-name actors---you remember me, I used to be old whats-my-name---the result is nowhere near as enjoyable as the quickie B&W shot-on-the-run,what-script?,it s finished when we run out of film,made-on-a-hocked shoestring-budget westerns from Denver Dixon.Unless one really likes great rib cages as displayed by Maria Polo as "Little Fawn." After gunman Ben Thompson(Robert Dix) has a passionate encounter with a girl he doesn t know, who is providing a service for release from his revenge-ridden soul,he thanks her by slapping her around and about more than somewhat before riding off into the desert looking for some more action and release. Action is provided when he crosses the path of an old girl friend, Nora Miller(Vicki Volante)and saves her from a savage attack by braves from the cruel band led by the inhuman savage-Satago(the uncredited Al Adamson).Release is provided in her cabin that night in a therapy session but her husband(Kent Osbourne) comes home in the dawning hours and it dawns on him that there might of been some hanky-panky fooling-around while he was gone, so he orders Ben to desist and vacate and Ben does but only because he s had all the action and release therapy he wants for a while, and not because he has any fear of the wimpy husband.The latter might have been smarter to have been a bit more tolerant because, with Bad Big Ben gone, Satago shows up and scalps them alive, as in not dead yet scalping.Satago then captures Little Fawn(Maria Polo), strips her nude, lashes her hands and feet to stakes, admires her rib cage awhile,remembers an appointment and departs, and leaves her to the vultures.Two show up when renegade Clay Bates(Jim Davis), who also sells weapons to Satago,and his moronic partner Horace come riding along and Bates, also big on release and action, especially when tied in a non-resisting package,parks his horse and gets down.Horace is licking his chops awaiting his turn but Bates,always on the alert for a chance to do the right thing, shoots Little Fawn dead before Horace can get off his horse.The film gets grimmer, dirtier, bloodier and downright gruesome as the likes of Scott Brady, John Carradine and Paula Raymond make their we-can-get-them-for one-day entrances but the film does have some redeeming value for fans of Swedish-produced movies; Big Ben goes around talking to "Death"(or the "Voice of Death" as spoken by Gene Raymond), and it is well known that when somebody goes around debating and conversing in general with "Death",an Art House booking and a possible Foreign Press Award may be in order.It could happen.