Watched on Netflix

It seems to have been somewhat forgotten nowadays what an incisive and style-defining work the late Western "The Professionals" (German title "Die gefürchteten Vier"-the dreaded four), directed by the legendary auteur filmmaker Richard Brooks, is for film-historical significance. For although the genre of the always badly maligned Western was already used in those days as an allegorical projection surface to point out political, social and societal grievances of the real world, Richard Brooks not only managed to anticipate a classic like Sam Peckinpah's "The Wild Bunch" in terms of its content. "The Professionals" also had the courage to formulate a critical commentary aimed at American warfare in Vietnam in the Far East in relation to the devastation of the Mexican Revolution.

For the time being, "The Professionals" can still be described as a forerunner of obligatory mercenary films in which a small troop of iron lads (played by Burt Lancaster, Lee Marvin, Robert Ryan and Woody Strode) sets out for enemy territory to rescue a fair maiden from the clutches of dastardly bandits: Guerrilla tactics are, of course, expressly encouraged in the strategic approach. In this case, Mexico forms the inhospitable Hellmouth and Jesus Raza (Jack Palance) is the villain who has kidnapped the wife (Claudia Cardinale) of a wealthy big industrialist (Ralph Bellamy). Richard Brooks, however, does not miss the opportunity to tell his film with an infectious lightness over long stretches, in keeping with the adventurous character of the aforementioned mercenary vehicles: There are plenty of fireworks, sharp dialogues and the gunpowder-laden air tickles the nostrils.

Only gradually does it break through, the indictment Richard Brooks brings against the contemporary government administration: By 1966, American troop strength in Vietnam was over 300,000. The battle was in full swing - and the nightmare was also a foregone conclusion. In "The Professionals", it is now our four swashbucklers who enter myth-enshrouded territory to act in the name of justice, only to find that operations launched under the guise of humanity give birth to the greatest crimes. When the four professionals finally meet Jesus Raza, "The Professionals" gains tragic weight: what if there is no more justice, because the boundary between good and evil has long since been broken? What if one wants to believe in honour, but in reality is only chasing a shaken illusion?