with Tony Tenser of Tigon British Film Productions with a view to obtaining funding for a movie starring Welch. Curtis proposed a horror movie or a Western; Tenser, who had always wanted to make a Western, picked that. Tigon put up 100% of the budget, while Curtwel (Curtis and Welch's production company) put up their services. Neither Curtis nor Welch took a salary, instead taking profit participation. Before Hannie Caulder was released, Tigon and Curtwel co-produced The Sorcerers (1967), a horror film starring Boris Karloff. Thus, Curtis and Tenser teamed up for both a Western and a horror film. It was the third film from Curtwel, following A Swingin' Summer and The Beloved. Robert Culp was signed to co-star in December 1970. The movie was filmed in Spain, mostly around Almería, beginning on January 18, 1971. Burt Kennedy and the cast were reportedly not paid after the first two weeks of filming, causing tension on the set. Stephen Boyd has a brief, uncredited appearance as a gunfighter known simply as the "Preacher". Flamenco guitar virtuoso Paco de Lucía makes a cameo appearance as a Mexican musician. Diana Dors plays a small role. Fast-draw artist Rodd Redwing was a technical adviser to the film, working with Culp. Redwing suffered a heart attack on the plane returning from the filming in Spain and died shortly after landing in Los Angeles. Release Hannie Caulder opened in London on November 8, 1971. On September 8, 1971, the British Board of Film Classification announced that the film would receive a AA certificate rating. a 15 certificate was applied on the video. Box office The film performed well at the UK box office and was reasonably successful in the United States. Critical reception In contemporary reviews, the Monthly Film Bulletin described the film as "a disappointing Western" that was an "uneasy course between parody and imitation in an unlikely amalgam of The Wild Bunch and One Million Years B.C., with the odd nod to Myra Breckinridge." The review noted the lack of dialogue from Welch and that the Clemens brothers in the film are allowed some "rather tedious verbal horseplay". In 2016 Filmmaker Magazine, saw the film as a "...fascinating bridge between the classical period, represented by John Ford and John Wayne, and the postmodern age of Peckinpah, Corbucci, and Leone. A bouillabaisse of elements that should not work together but do —lyricism, graphic violence, moral