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Two Mules for Sister Sara

Two Mules for Sister Sara

Western · Adventure · Romance · 1970

When a wandering mercenary named Hogan rescues a nun called Sister Sara from the unwanted attentions of a band of rogues on the Mexican plains, he has no idea what he has let himself in for. Their chance encounter results in the blowing up of a train and a French garrison, as well as igniting a spark between them that survives a shocking discovery.

Movie details

Two Mules for Sister Sara

“CLINT EASTWOOD...the deadliest man alive...takes on a whole army with two guns and a fistful of dynamite!”

1970 Western · Adventure · Romance 1h 54m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

When a wandering mercenary named Hogan rescues a nun called Sister Sara from the unwanted attentions of a band of rogues on the Mexican plains, he has no idea what he has let himself in for. Their chance encounter results in the blowing up of a train and a French garrison, as well as igniting a spark between them that survives a shocking discovery.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Two Mules for Sister Sara?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Don Siegel

Written by

Albert Maltz · Budd Boetticher

Shirley MacLaine

Shirley MacLaine

Sara

Clint Eastwood

Clint Eastwood

Hogan

Manolo Fábregas

Manolo Fábregas

Colonel Beltran

Alberto Morin

Alberto Morin

General LeClaire

Armando Silvestre

Armando Silvestre

1st American

J

John Kelly

2nd American

Enrique Lucero

Enrique Lucero

3rd American

Court is in session

Put Two Mules for Sister Sara on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.