An inkeeper : Charles Bronson and an assortment of misfit characters are searching for a nazi treasure with unexpected consequences. This variety of other characters include an ex Nazi officer : Jason Robards , a mysterious French woman : Dominique Sanda , a suspect police chief : Fernando Rey , an adventurer : Simon MacCorkindale , among others .All of them assemble in Peru after WWII and everyone shares a common interest : to find a missing treasure of gold , lost in a ship wreck.This is an adventure, thriller, suspense movie full of flaws and gaps , dealing with a motley group searching for a Nazi loot sunken off the coast of Peru. The plot sounds familiar as the film results to be a very inferior crossover between Casablanca and The treasure of Sierra Madre , taking parts here and there . Average screenplay by Victor Andres Catena and Jaime Comas Gil with plenty of twists and turns .The main and support cast is frankly excellent though really wasted , giving mediocre interpretations. Bronson plays in his usual wooden style a tough and two-fisted bartender who runs the local watering hole ; Dominique Sanda is a beautiful woman searching for his lover ; Jason Robards plays a nasty Nazi who controls the townsfolk and the police chief well performed by Fernando Rey . Here appears an important plethora of secondary actors as Gilbert Roland , Camila Sparv , Simon MacCorkindale , Clifton James , Anna De Sade and brief appearance by the Spanish Aldo Sambrell . Atmospheric cinematograhy by the Mexican Alex Phillips , being necessary a perfect remastering because of film copy is washed-out. Adequate and sunny scenarios by the expert production designer Jaime Perez Cubero. Evocative musical score by Jerry Goldsmith , but far from his great soundtracks.The motion picture was regularly directed by J.Lee Thompson . Lee made various Charles Bronson vehicles , both of them got some successes , working in titles as St Ives, White Buffalo , Ten to midnight, Death Wish the crackdown , The evil that men do, Murphy Law , Messenger of death , Kinjite forbidden subjects and this Cabo Blanco . Thompson's greatest hit was Navarone guns as well as MacKenna gold . Rating : 4.5/10 . Mediocre , though the movie will appeal to Charles Bronson fans

It seems like almost all Hollywood stars have to have their own version of Casablanca.Even Shakespeare plays must not have attracted so many varied 'interpretations'.Even Charles Bronson ?!But surprisingly the movie is still a typical Bronson movie. Factor in the nudity, the fights, the thrills, and the 'he-men' that populate your regular Bronson movie.I personally found the ending a bit'weak and maybe obscure'; but it helps to differentiate the movie from being a direct Casablanca copy. Overall, it stands up OK for die-hard Bronson fans.

The third collaboration between star Charles Bronson and veteran British director J Lee Thompson is, like its predecessor The White Buffalo, a strange beast but this time the collaboration doesn't quite manage produce something interesting. An all-star caper set in South America after the close of World War Two, Capo Blanco shows a disparate group of International adventurers going after what turns out to be a hoard of treasure looted by the Nazis during the war. The image of Capo Blanco as a melting pot of various International chancers gives the place in image as well as name a nod to Casablanca. The ex-patriot American protagonist, Giff (Bronson), runs a bar in town just like Rick in the classic and the supporting characters echo figures who once listened to the "You must remember this" refrain – an ultimately good but morally compromised police chief (Fernando Rey doing Claude Rains), a wicked Nazi (Jason Robards for Conrad Veidt) and a mysterious, beautiful woman with Paris in her past (Dominique Sanda standing for Ingrid Bergman). There is an awkwardness to the film, as if Thompson is unsure as to whether this is an homage or a pastiche.Thompson, in his later years especially, was a filmmaker whose world-view was riddled with misanthropy. Here he tries to take what Wilde might have termed a bank holiday from cynicism, as he confesses in a short "Making of" documentary filmed during the shoot, where he identifies the post-war setting as "…an era of romanticism, an age when things seemed to have a drive and excitement of their own, when values were considered to be important and the feeling that the hero in the end should triumph and that you could root for good against bad. We've lost a lot of that, as indeed we should do in the modern cinema. But that is occasionally something which should occasionally appear on the screens when we're making a film today." Cabo Blanco is an exercise in nostalgia but it is exercising muscles in Thompson which had long-since wasted away. For the most part Cabo Blanco a tired film. The story is told without any real effort at audience engagement. Most of the excellent cast are on auto-pilot. Yet this is the logical consequence of its nostalgic romanticism.The denouement, a long and not very well-paced scene in Giff's bar, sees the moral of the film being played out, yet it is as if the figures are animated waxworks re-enacting scenes from a no longer living past. The police chief, who has up until now assisted the Nazi in the search for the treasure, learns that it is loot from "Churches, synagogues, death camps" and so jumps ship, joining the good guys. He regains, in Giff's words, "his soul". The film dramatises a moment when the post-war allies had the moral high ground and where their rectitude could persuade others that they were indeed the good guys. This is a legend now, as the film self-consciously admits in a series of mythologising voice-overs, and Thompson can only repeat it, parrot it. The plot self-consciously involves a parrot's memory. It as if the myth were preserved in aspic, no longer a living thing. The epilogue, over which the voice over tells us that "the legend (…) grew and grew and Cabo Blanco prospered", shows Giff with a swanky house on a hill with the girl, living the good life. A good life built of the legend that he is a good guy.Yet Giff, as his back-story tells us, is a murderer. And as a murderer, he himself is on the run from gas chambers not in Nazi Germany but in the good old USA. Even when making a piece of supposedly romantic nostalgia, Thompson cannot help but let his cynicism seep out.

Caboblanco is a really, really bad film, that loses many points for its feeble attempts to evoke the classic "Casablanca". I feel sorry for Jason Robards and Bronson, both of whom give decent performances on this film's lousy script. I'm sorry, but the story of various low lifes and politicos vieing over suken treasure (with a crappy romance sub-plot thrown in for good measure) cannot compete with Casablanca's story of sacrificing love for the greater good. Also, this film lacks Casablanca's wonderful supporting cast and great dialogue. Judged by itself, this film is paced far too slowly, and too little occurs. The ending, though, is what mainly draws my ire-"I put a bomb in the jukebox" indeed! Avoid.