I grew up with the original THE MAGNIFICENT SEVEN (1960) to the extent that it became an integral part of my youth. I greeted RETURN OF THE SEVEN (1966) with open arms and grew to endear GUNS OF THE MAGNIFICENT SEVEN (1968). I first saw THE MAGNIFICENT SEVEN RIDE! in 1972 on its initial theatrical release. In many ways it brakes away from the story line formula established by its three predecessors and in some ways is a disappointment.The character of Chris, the leader of the seven now portrayed by Lee Van Cleef, is a complete departure from that established by Yul Brynner in THE MAGNIFICENT SEVEN and again in RETURN OF THE SEVEN. Instead of a noble gunslinger that skirts the law, Lee Van Cleef's Chris is a cynical lawman who shoots first and asks questions latter. We see Van Cleef reluctant to help an old friend (Ralph Waite) who desperately needs his aid. Van Cleef's Chris is even happily married (to Mariette Hartley) as opposed to Brynner's Chris who was the immitigable stoic yet virtuous loner.Much of the plot also goes against formula except for the conflict and climax which ultimately has the seven going up against seemingly insurmountable odds from yet another bandit leader. The earlier part of the film has lawman Chris pursued by journalist Noah Forbes (Michael Callan) who is bent on making him a legendary Western hero in print. It also deals with Chris avenging the murder and ravaging of his wife by a pair of young thugs (Gary Busey and Hank Allan). Gradually the film falls into the formula of the seven coming to the rescue of the downtrodden once again. Interestingly, the film once again breaks formula when Chris recruits the seven. After signing on journalist Forbes, we get shades of THE DIRTY DOZEN when Chris goes to the territorial prison to recruit five inmates to round out the seven. These men are portrayed by Ed Lauter, Luke Askew, James B. Sikking, Pedro Armendariz Jr. and Bill Lucking.The film's budget looks terribly feeble in comparison to its three predecessors. It looks like a "back lot" production. Even Elmer Bernstein's score has lost its majestic quality. The orchestra sounds as if it were manned far below that of a standard size symphony, which can not be blamed on Bernstein if that's what the budget allowed. Some of the film's strong points are its witty dialog, an excellent performance by Luke Askew and the preparation and defense of the village by the seven.THE MAGNIFICENT SEVEN RIDE! seems much less like the fourth film in a movie series but rather a half-hearted effort to turn out one more story that may have looked more effective on television than on the big screen. The presence of Stefanie Powers as the love interest even seems to reinforce this impression. In some ways THE MAGNIFICENT SEVEN RIDE! is an appropriate end to this quartet of films. It was really a reflection of the times. It represented an end of an era when the Western once rode tall in the saddle of the silver screen. By 1972 that era was sadly coming to an end. Looking back with affection I am now glad that Lee Van Cleef, a true veteran of the Western, ended this one on a note of endearing optimism. The spirit of those magnificent seven men will always live in our hearts.