[3] A blanket-clad gunfighter, the Stranger, rides into a largely deserted Mexican village, where he encounters Chica, a young widow with a baby son, and Paco, a bartender who orders him at knifepoint to leave.

After killing Paco with a bottle, he witnesses a massacre of Captain Cordoba's Mexican Army troops by the bandit chief Aguilar and his gang, who steal the soldiers' uniforms and a machine gun.

The Stranger later returns to recapture the gold, but he is ambushed and beaten by Aguilar's men, before being left to the attentions of Maruka, who becomes increasingly aroused by him.

[4] His then-rival at the Chicago Tribune, Clifford Terry, said the film was "not exactly a prime candidate for the Welcome Wagon" and adding that Anthony "looks like Audie Murphy might look if he were old enough to not shave […] perspires more than Louis Armstrong on an August night, apparently believes that cheroot smoking is hazardous to his health, and has the distracting characteristic of walking more like a hairdresser than a gunslinger.

Tony Anthony did some very interesting things with the spaghetti Western genre, including, perhaps, presaging the Trinity movies, while certainly "inventing" the West-meets-East subgenre.

"[6] In his analysis of the Spaghetti Western genre, Alex Cox was highly critical of the Stranger films, which he felt were "brain-dead" and had "nothing at all to recommend them", and of Anthony, who he described as an "unappealing" actor who was "talented at nothing beyond sticking around for sequels".