I saw this western for the first time in 1996 and it struck me as being an excellent movie. Years later I saw it again in 2006 and still had the same view, I have since watched it 3 more times.This is without a doubt for me Yul Brynner's best film (from what I have seen). I am not really a fan of his, but in this movie he gives a truly commanding performance that stands out. From the opening moment you see him hoisting himself onto the roof of the moving carriage to sit at the front by the driver, until the ending where he makes Brewster (The town's crooked boss played by Pat Hingle) kneel and admit his ways, it is compelling viewing. The sexual tension between Brynner and Janice Rule simmers below the surface. The moral issues explored such as racism in the town are quite weighty although they are more implied than rammed down your throat. Also Union and confederate allegiance issues exist in this town even after the war is over.Matt Weaver(played well by a young George Segal) returns home from the war to find his house sold out from under him. Then he is wrongfully accused of murder and the town having been whipped up into a frenzy by Brewster, decide to hire a gunfighter to kill him. The job is eventually taken by Brynner, and there is an interesting twist where the tables are turned when the town feel the gunfighter is not earning his money.This film kept me fully entertained with its strong performances from the three leads and other decent performances too from the rest of the cast. Although this is not one of the all time great westerns it is certainly one not to miss and any western fan should seek it out. 7/10

Rebel soldier Matt Weaver returns to town after the Civil War, only to find that his home has been sold by unscrupulous town boss, Sam Brewster. Brewster, fearing for his safety, hires gunfighter Jules Gaspard d'Estaing to eradicate Weaver. But as d'Estaing's settles in to town it becomes clear to him just what a corrupt and morally bankrupt bunch the townsfolk are.It grieves me to mark a film like this, with so many good people involved with it, down so low. The thematic heart of this picture is fabulous, nothing none of us haven't seen before, but tales of hired gunmen straightening out dirty towns are always of interest if handled with care and a commitment to the moral essence. Invitation To A Gunfighter, in spite of starring Yul Brynner, George Segal, Brad Dexter, Pat Hingle and Strother Martin, and being directed by Orson Welles collaborator Richard Wilson, is ploddingly paced and acted like a low budget C movie. The score from David Raksin is intrusive and completely out of sync with the nature of the piece, whilst the back lot location is all too evident.The piece briefly picks up entering the final third, where thankfully Brynner is asked to earn his pay outside of walking around glumly, but it's a false dawn as the finale has all the excitement of a runny nose. I'm in the minority judging by the comments written for this film thus far, so maybe it caught me at a bad time, but the chances of me ever seeking this one out again are remote to say the least. 3/10

It is very interesting to note the name of the mysterious gun fighter played by that superb actor,Yul Brynner. He is named Jules Gaspard D'Estaing. Altogether a French name which he teaches Pat Hinkle's character to pronounce just right. Interesting thing is that Yul is Russian for Jules and that name was given to Mr. Brynner after his Russian grandfather. I wonder if Yul chose that name himself for the character he played, was it co-incidence or chosen by the script writer.I have no answer and I would wish someone who knows about the genesis of this name would enlighten us all. Yul Brynner plays a Creole;half French half Black man who has been given an artificial dark complexion. Along with his shaved head and dark eyes he does look his part. He reminded me of that other fine actor,Woody Strode.

Brynner's trademark feline grace and air of disdainful superiority are used to full advantage in this tale of a small town hiring a gunfighter to deal with a hometown boy gone bad. The performances of the other actors and solid direction provide a sharp portrait of a dusty, narrowminded, small-town society. They've created one monster of their own, and invited another monster in to deal with him--now, how do they deal with the new menace? Particularly memorable is the scene in which D'estaing gives instruction in the proper pronunciation of his name.