Forgotten Pistolero (1969)

Nice SW from Ferdinando Baldi, 13 November 2015

Overall, Forgotten Pistlero is a solid Spaghetti Western – not great, but good enough. Like a lot of the SWs I've seen, the central theme in this one is revenge. The children of a man murdered by his wife and her lover want revenge. It may be a familiar set-up, but Ferdinando Baldi does an excellent job of building interest and tension right to the final moments. Baldi also throws in a lot of other bits that I've come to expect from an entertaining SW – mysterious strangers (Leonard Mann and Pietro Martellanza) with over-the-top gun skills, an impossibly beautiful heroine (played by Pilar Velazquez), a gang of cut-throat killers, and lots and lots of sweaty men. And the film's finale is about as downbeat as you'll find. It's not as dark as something like The Great Silence, but it's definitely not a happy ending. It stuck with me long after the movie ended. Good stuff.

A few other thoughts:

1. The music, while very good, is often derivative and very Morricone-esque. It will remind you of a dozen other scores - but that's not necessarily a bad thing. 

2. The acting is good, but no one really stands out. The highlight of the cast for me has to be Luciana Paluzzi of Thunderball fame. 

3. For what seems like a modestly budgeted SW, there are a couple of set-pieces that are exceptionally well filmed. For example, the waltz scene looks like it came out of a film with a budget far exceeding that of Forgotten Pistolero. It's gorgeous. The other is the film's finale. The burning building is another set-piece that's very well done. 

I'll give Forgotten Pistolero a rock-solid 7/10.

7/10

The Bounty Killer (1967)

- El precio de un hombre
One of Tomas Milian's best performances, 13 December 2009

As far as Euro-Westerns go, The Bounty Killer has about as straight forward a plot as you'll find. Jose Gomez (Tomas Milian) is a prisoner being moved by coach to a new facility to await his death. The citizens of his hometown see him as something of a hero and want to help him out. Gomez's would-be love interest Eden (Halina Zalewska) slips him a gun at one of the stage's stops. But is Gomez the same man the townsfolk remember? Or, as bounty hunter Luke Chilson (Richard Wyler) warns, has Gomez changed and no longer deserving of their admiration? The locals are about to find out as Gomez and his gang with the bounty hunter hot on his heels are headed straight for their sleepy little town.

It's not perfect by any means, but for fans of Euro-Westerns, there's a lot in The Bounty Killer to enjoy. First, and most obvious, is Tomas Milian. I don't know how many of these Westerns he made, but this was his first. And quite honestly, it may represent his best acting performance. The multi-dimensions and facets he's able to give his character, Jose Gomez, is nothing short of brilliant. Even though he's an escaped prisoner, Gomez is a character we initially root for. But slowly, he changes. Toward the end of the film, Milian has transformed Gomez into the kind of ruthless killer that a hangman's noose is too good for. And his final moments on screen, all I can say is "Wow!" It's an incredible performance. As for the rest of the cast, they're all more than adequate with the familiar face of Mario Brega, the beautiful face of Halina Zalewska, and the steady, unflinching face Richard Wyler as anti-hero Luke Chilson. It takes a while for Chilson to grow on you, but once he does it's easy to appreciate the character. In fact, it takes a while for all of The Bounty Killer to grow on you. The film starts out slow (very slow in fact), but be patient – the payoff is worth the wait. Looking back at the film, the pacing director Eugenio Martin gives to The Bounty Killer is one of the movie's assets – culminating with a final act that features plenty of fight scenes, shoot outs, and various other killings. Not as graphic as some of the later Euro-Westerns, there's enough violence to keep most everyone happy. The Spanish country side is beautifully filmed and provides just the gorgeous dusty setting I've come to look forward to in these films. Finally, Stelvio Cipriani's score, though often repetitive, is rousing and memorable. Overall, it's a job well done.

8/10

A Pistol for Ringo (1965)

- Una pistola per Ringo
"Early to bed, early to rise, gets you shot between the eyes.", 30 October 2009

The leader of a band of Mexican outlaws is wounded as the group makes its getaway after a bank robbery. The bandits decide to hold-up at a nearby ranch. The outlaw leader, Sancho (Fernando Sancho), threatens to kill two hostages per day unless he and his gang are allowed passage to Mexico. The local sheriff feels hamstrung as he fears for the life of his girl, one of the hostages, if he makes a move against the bandits. Reluctantly, he turns to a prisoner he's holding, Ringo (Giuliano Gemma), for help. The plan – have Ringo, an outlaw himself, infiltrate the group and work from the inside to free the prisoners.

A Pistol for Ringo is an interesting and entertaining early Spaghetti Western. It's interesting to me because I look at it as something of a bridge between the traditional Hollywood Westerns and the Euro-Westerns just getting cranked-up in 1965. It's a mix of old and new. Old – costumes, the unrealistic portrayal of violence (no blood), and the lack of dirt (it always bugs me that no one in old Westerns ever gets dirty). New – the anti-hero, bandits like Sancho, the body count, and crazy plot points and twists. It's really cool to see these different elements blended into one movie like A Pistol for Ringo. As for entertaining, well it's just fun. Lighter feeling than some of the other early Spaghetti Westerns, A Pistol for Ringo has something of a playful tone to it despite the violence. The script is well written and includes many interesting pieces of dialogue – the bit about what makes men different in Texas being one of my favorites. The script also includes a well written, but heart wrenching, twist near the end that I really didn't see coming. It completely caught me off-guard. Director Duccio Tessari keeps things moving at a nice pace with lots of action, gun fights, and interesting set-pieces throughout. The acting is a real highlight. Gemma, Sancho, and the beautiful Susan Scott (Nieves Navarro) help make A Pistol for Ringo worth watching. Finally, there's Ennio Morricone's score. It's what I've come to expect from Morricone – wonderful

7/10

Have a Good Funeral, My Friend... Sartana Will Pay (1971)

- Buon funerale, amigos!... paga Sartana
Not a bad example of what I'm going to call a lesser SW, 10 May 2009

Sartana blows into town just after a local prospector, Joe Benson, has been murdered. Suddenly, there seems to be no shortage of buyers for the old man's land that most describe as nothing more than a pile of worthless sand. The two men who seem to want the land the most are the local crooked banker and the Chinese gambling parlor owner. But why? With Sartan's help, Benson's niece and heir plays the two potential buyers against each other looking to get the most for the land. Will she succeed? The only thing that's certain is that Sartana's going to do whatever he cam to make sure he comes out ahead.

Certainly not what I would call a top of the line Spaghetti Western, Have a Good Funeral, My Friend . . . Sartana Will Pay (let's shorten that to Have a Good Funeral for the rest of this comment) is still an enjoyable enough installment in the Sartana series. Gianni Garko is back as Sartana. He's excellent in the role and provides the character with just the right amount of mystery to throw doubt on his motivations. Even among the super human feats of other SW heroes, Sartana's abilities with a gun, a deck of cards, or being in the right place at the right time are unmatched. The supporting cast features a number of familiar faces – Helga Line and Franco Ressel being chief among them. But I was most impressed with Daniela Giordano and George Wang - the latter seemingly enjoying himself as much as anyone. Giuliano Carnimeo's direction is more workmanlike than artistic, though he does provide a visual flourish or two as Have a Good Funeral progresses. The plot has enough twists and turns to keep things interesting. And even thought the man behind the killings is easy to spot for anyone who's seen enough of these movies, it's still fun to watch Sartana figure things out. Finally, Bruno Nicolai's score is definitely a high point of the film, even if it is eerily reminiscent of some of his other work. Overall, not a bad example of what I'm going to call a lesser SW. Trust me, you could do a whole lot worse.

7/10

My Name Is Trinity (1970)

- Lo chiamavano Trinità...
"Welcome, brothers!", 28 April 2008

I am by no means an expert on the 19 or so Terence Hill / Bud Spencer films. But of the handful I have been able to see, They Call Me Trinity just might be my favorite. I distinctly remember watching this movie over 30 years ago and thinking it was one of funniest, most enjoyable movies I had ever seen. Re-watching it last night, I realized that, although my opinion isn't quite as high as it once was, I still enjoyed They Call Me Trinity immensely. It's not perfect, but it sure it fun. Hill and Spencer play off each other as well as any of the better known Hollywood duos. They complement each other in both style and appearance. There are a few moments that had me laughing out loud. Their first meeting with the Mexican bandits while unintentionally disguised as Mormons is one of these moments. Hill also has some particularly funny scenes on his own. One that I remembered from my first viewing three decades ago was the scene where Hill eats the entire plate of beans. Good stuff! And who doesn't get a kick out of the dust-covered Hill being pulled along behind his horse. It's a classic image right up there with Django dragging the coffin through the mud. There's just something about both of these scenes that I find very funny.

But what I really enjoy the most is the way They Call Me Trinity makes fun of some of the better known Spaghetti Western clichés. There are several examples I could use, but I'll just cite one. In most Spaghetti Westerns, the main character is usually an expert shot. So expert, in fact, that they almost never miss. Look at Lee Van Cleef in Sabata or Clint Eastwood in The Good, the Bad, and the Ugly for example. Van Cleef's Sabata is able to his any target at any distance and Eastwood's Blondie has no problem hitting the rope about to hang Tuco. Trinity takes this already exaggerated ability to the absurd. As seen in the one of the bar fights, Trinity can hit targets behind his back - without looking. If you're a fan of these movies, you'll enjoy They Call Me Trinity's poke at Spaghetti Western conventions.

8/10

For a Few Dollars More (1965)

- Per qualche dollaro in più
"When the chimes end, pick up your gun.", 9 July 2007

Two bounty hunters are going after the same man – a crazed escaped convict named Indio (Gian Maria Volontè). Realizing that the job is too big for either one alone, Col. Douglas Mortimer (Lee Van Cleef) and Monco (Clint Eastwood) decide to put their egos aside a team-up to get their man. But can these two men take on and take out an army of outlaws?

A Fistful of Dollars may have come first and The Good, the Bad, and the Ugly may be the fanboy's choice, but my favorite movie in Sergio Leone's Dollar's Trilogy is For a Few Dollars More. In contrast to the first movie in the trilogy, For a Few Dollars More is a more sophisticated, more confident film. Leone took the ideas he developed in A Fistful of Dollars and ran with them. There's definite growth in Leone as a director. Similarly, you can see growth in Eastwood and Morricone. All three – director, actor, and composer – were coming into their own with confidence to spare. And in comparison with the better known third movie in the trilogy, For a Few Dollars More is a tighter, more fluid film. It may be one of the best movies ever made, but The Good, the Bad, and the Ugly does tend to drag every now and then. That's not he case with For a Few Dollars More. There's not a wasted moment. But please, don't misinterpret anything I've written – I think all three movies are works of genius. I just happen to prefer For a Few Dollars More to the other two.

Beyond Leone, Eastwood, and Morricone, any discussion of For a Few Dollars More wouldn't be complete without mentioning the rest of the cast and the sets.

• The Cast: Eastwood may be the more known commodity, but he often is upstaged in this movie by both Van Cleef and Volontè. In fact, Volontè steals most every scene in which he appears. His dope-smoking, homicidal Indio is one of the most ruthless and memorable characters I've seen in a Spaghetti Western. Another interesting casting decision is that of Klaus Kinski. His screen time may be limited, but his scenes with Van Cleef are among the most memorable in the movie. The rest of the cast, especially Mario Brega and Luigi Pistilli, are just as solid.

• The Sets: For a Few Dollars more looks like a million dollars thanks to some wonderful sets. Some of the villages found in and around Almeria, Spain, are incredible looking. It would be difficult to duplicate the authenticity of a place like Los Albaricoques with its cobbled streets and white-washed adobe buildings. Yet when called upon to do so, Carlo Simi designed and built some equally impressive sets. His attention to detail in the planning and set decoration is impressive.

9/10

And God Said to Cain (1970)

- E Dio disse a Caino
Beware of budget DVDs, 8 July 2007

After serving 10 years in prison for a crime he didn't commit, Gary Hamilton (Klaus Kinski) is released. Hamilton has had 10 long years to plot his revenge and he intends to get it. His quarry, a man named Acombar (Peter Carsten), has assembled something of an army to help protect him and his family. But Hamilton appears to have something on his side – God. Hamilton rides into town just ahead of the wind, dust, and noise of a tornado. It's quite an entrance!

And God Said to Cain is a solid Spaghetti Western (SW) from often underrated Italian director Antonio Margheriti. With this movie, Margheriti put together one terribly effective SW. A lot of SWs include some sort of light-hearted, comedic moments. That's not the case with And God Said to Cain. It's as serious and dark as any SW I've seen. Margheriti doesn't allow a single moment of levity. Normally relegated to playing the heavy, Klaus Kinski gets a rare opportunity to play the lead. And he does a good job with it. He plays Hamilton as a man with a single-minded focus – get revenge. Before we as an audience even know who Hamilton is or what he's up to, he's killing people on a dark, stormy night. The action and shootouts are entertaining, the supporting cast is solid, the music is good, and the sets and locations fit the film nicely. What more can you ask for in a SW?

The only negative regarding my experience with And God Said to Cain actually has nothing to do the movie, but concerns the budget label DVD I watched. What a terrible transfer! Much of the movie is set at night and it was often very difficult to tell what was happening. Who knows? I might have rated the movie higher had I not missed about a fourth of the action. So be warned – in this case you get what you pay for.

8/10

A Fistful of Dollars (1964)

- Per un pugno di dollari
"Get three coffins ready.", 7 July 2007

A Fistful of Dollars is often incorrectly called the first Euro or Italian or Spaghetti Western. In fact, there were a number of Euro-Westerns made prior to Sergio Leone's A Fistful of Dollars. However, in comparison with Leone's first Western, the few Euro-Westerns I've seen tend to be little more than copies of American Westerns. Instead, Leone was first to usher in a new style of Western. Leone created a less romanticized Western where characters had faults, got dirty, and bled. A Western where the line between the good guys and the bad guys was blurred. A Western where events were unpredictable. A Western where the violence was over-the-top. The Spaghetti Westerns like A Fistful of Dollars may have had little in common with the real Old West, but neither did the Hollywood Western. And I'm not sure that Leone and the rest cared that their films lacked historical accuracy. The real West wasn't their inspiration – the Hollywood Westerns were their inspiration. These were entertainment pieces first and foremost. And if the audiences of the 1960s were entertained by this new style Western, Leone was going to give it to them.

It's impossible to mention A Fistful of Dollars and not discuss the genius of Sergio Leone. In this movie, you can see early examples of directorial flourishes that would become Leone trademarks. The extreme close-ups followed by enormous widescreen shots, the extended showdowns, and the use of music as an integral part of a film can be seen in his first Western effort. But just as amazing and genius as Leone and just as important to the success of A Fistful of Dollars is Ennio Morricone's score. I'm sure audiences familiar the Hollywood style of scoring were shocked by Morricone's music with its series of whistles, chirps, and other experimental sounds. It was a new sound for a new kind of Western. And it's brilliant.

At its core, A Fistful of Dollars is a very simple movie. The plot is simple (and even more so if you've seen Yojimbo). Clint Eastwood rides into town and discovers two warring factions. He uses the animosity they have for each other for his own gain. Like I said, it's simple. But the film's simplicity extends beyond the plot. Partially for budgetary reasons and partially the result of some judicious cutting and editing, there's very little in the way of fat. For example, the dialogue in A Fistful of Dollars is often very minimal. Considering the fact that he's the lead performer, Clint Eastwood's character has very few lines. Instead, Leone and Eastwood allow a look, an action, or a note from Morricone's incredible score to speak for Clint. Simple? - yes, but very effective.

Beyond Leone's direction, Morricone's score, and the style of the Spaghetti Western, A Fistful of Dollars excels in several other areas - especially the acting. For the budget the film was made on, the acting is superb. Eastwood and his minimalist "Man with No Name" may be the known quantity, but there are other, equally impressive performances in the movie. Chief among them is Gian Maria Volontè as the crazed Ramon. It's an amazing piece of work. As much as I enjoy Eastwood, it's Volontè that makes the movie for me.

Finally (and I'll end here because I could probably go on writing all night) I sometimes wonder if Leone or Eastwood or anyone involved with A Fistful of Dollars had any idea of what they were doing. Did they have any notion that more than 40 years later these movies would be more beloved than when they were made? I sincerely doubt it. I'll never forget the night I discovered Leone's Dollar Trilogy. I was in college in the early 80s and WGN was playing A Fistful of Dollars and For a Few Dollars More back-to-back. I was blown away! My conception of what a Western was changed that night. And I've been a huge fan every since.

Thank you, Mr. Leone.

8/10

Massacre Time (1966)

- Tempo di massacro
Fulci Goes West, 6 July 2007

Lucio Fulci may be best known for his zombie fright-fests, but I prefer his non-zombie movies like One on Top of the Other, A Lizard in a Woman's Skin, and Don't Torture a Duckling. I'm happy to say that Massacre Time joins this group of Fulci favorites. Once again, Fulci proves he was more than a gore-obsessed hack.

The story is typical Spaghetti Western stuff. Tom Corbett (Franco Nero) returns home only to find it's not the home he remembers. His family's ranch and the rest of the town have been taken over by a wealthy and seemingly cruel land baron named Mr. Scott. It's either do as Scott says or face the wrath of his henchmen – including his psychotic son, Junior (Nino Castelnuovo). Corbett turns to his brother, Jeff (George Hiilton), for an explanation and assistance, but finds he is more concerned with getting drunk than avenging his father's death. Can Corbett set things right for the town and his family? In typical Spaghetti Western style, the final showdown is not to be missed.

This is actually the second of Fulci's Westerns I've seen. While I enjoyed the other (Four of the Apocalypse) it was a little too far "out there" for my tastes. Massacre Time is much more conventional in its presentation. Massacre Time has more in common with the works of Leone and Corbuccci (Django in particular) than it does with Fulci's other films. And, there's a lot here to like. The acting is top notch. Nero and Hilton are both more than capable of carrying a film on their own and, together, they're dynamite. Nice chemistry from two pros. Coriolano Gori's score is as good as any I've heard. Fulci's direction was never better. The movie has more flow and pacing than some of Fulci's other movies I've seen. And finally, the writing is surprisingly good. Italian genre films are often criticized over their lack of coherent scripts. That's not the case with Massacre Time. Fernanco Di Leo's script is very nice. Overall, it's a wonderfully entertaining film that I'm very glad to have finally discovered.

8/10

Roy Colt and Winchester Jack (1970)

Hit and miss from Bava, 15 July 2006

Reading various comments on the internet about Roy Colt and Winchester Jack, you would think that it was the worst movie ever made. I've now seen most of Mario Bava's films (23, to be exact) and I've seen my fair share of Spaghetti Westerns. While Roy Colt and Winchester Jack isn't a very good example of either, it's hardly the worst film Bava made (see Dr. Goldfoot and the Girl Bombs) or the worst Spaghetti Western I've watched (see God's Gun). In fact, there are moments and certain set-pieces in the movie that I really enjoyed. The best example that comes to mind is the film's finale. Without giving it away, I'll just say that it's a nice twist that worked for me. The film's soundtrack is interesting. I wouldn't call it a traditional Spaghetti Western, but it's enjoyable enough anyway. Brett Halsey and Charles Southwood are okay in the title roles, but Marilu Tolo stands out in the role of Manila. More of Tolo would have been a good thing. Finally, while some of the more eccentric characters in the movie don't work, the gunfighter in the opening scenes with Tourettes Syndrome is a real hoot.

I actually would have enjoyed Roy Colt and Winchester Jack more and rated it higher if it weren't for two things. First, the movie hardly feels like a Bava film. There are none of the great director's flourishes of color or unique camera tricks I look forward to seeing. It's all rather flat and dull looking. Second, and my biggest complaint with the movie, is the character called The Reverend. A more annoying character I can't think of at the moment. He's not funny, he's not threatening, and his idiosyncrasies are downright painful to watch. Similar to what I wrote about Tolo, less of The Reverend would have been a good thing.

5/10

The Good, the Bad and the Ugly (1966)

- Il buono, il brutto, il cattivo
"When you have to shoot, shoot, don't talk.", 2 July 2006

I know some movie fans who consider The Good, the Bad and the Ugly the best movie ever made. While I don't even think it's the best thing Sergio Leone made, it's a solid Spaghetti Western that has all but transcended the sub-genre. There are images, such as Clint Eastwood in the poncho, and music, like the main title theme, that are known by people who have never seen the movie. I also know people who wouldn't be caught dead watching a movie made outside of the USA who love The Good, the Bad and the Ugly. I can't think of another Italian made film, let alone an Italian made Western, that has become so universally known and enjoyed.

There are so many moments in The Good, the Bad and the Ugly that I enjoy. One of my favorites is that of Tuco running through the cemetery as Morricone's "The Ecstasy of Gold" plays in the background. It literally gives me goosebumps. It's one of those movie moments that I look forward to no matter how many times I've seen them. I'm also a fan of the techniques Leone used in The Good, the Bad and the Ugly. Leone's use of the widescreen shots of the landscape inter-cut with extreme close-ups of faces is brilliant. It adds a sense of intimacy to vastness of the setting that allows the viewer feel like they're part the movie and gain some insight into the characters. It's a technique that very few other filmmakers have the guts to employ.

But I sincerely doubt that Leone's film would be so widely and wildly regarded if it weren't for the music of Ennio Morricone. I've already mentioned the main title theme and "The Ecstasy of Gold", but these are only two examples found in this amazing score. Can you imagine the final showdown without Morricone's music? I can't think of many instances where music and film go together to create such tension and anticipation. I've already used the word "brilliant" to describe Leone, but it's also applicable to Morricone.

Finally, The Good, the Bad and the Ugly wouldn't be the same without the three lead actors. Each, at least in this movie, is brilliant (there's that word again) in his own right. Clint Eastwood is "The Good". He's "The Good" in the sense that he's not as "bad" as the other two. Lee Van Cleef is "The Bad". He's a ruthless killer who would just as soon shoot you as look at you – as long as the price was right. And then there's Eli Wallach as "The Ugly". As good as Eastwood and Van Cleef are, Wallach is really something special. Wallach's Tuco is one of the most crazed, but complicated characters I've seen. It's a special cast for a very special movie.

9/10

Sabata (1969)

- Ehi amico... c'è Sabata, hai chiuso!
This ain't your grandfather's Western, 12 June 2006

The plot of Sabata sees the title character (played by Lee Van Cleef) stopping a bank robbery only to blackmail those responsible. The robbery ringleaders don't see too kindly to this and look to take out our hero and the rest of his ragtag bunch. Sabata has everything I look for in a Spaghetti Western - good gun fights, over-the-top violence, quirky characters, some nifty acrobatics, a plot that stretches credibility, and a strong anti-hero. Another thing Sabata has going for it is a sense of humor. The entire movie is done with the tongue planted firmly in cheek. If you take none of it very seriously, it's a lot of fun. Just remember - this ain't your grandfather's Western.

Other than the better known Sergio Leone films, this may be the best Spaghetti Western Lee Van Cleef made. He's almost perfect as the killer with nerves of steel capable of hitting a target at the most ridiculous of distances. He seems to always be at least two or three steps ahead of his adversaries. The supporting cast is just as good with William Berger and, in particular, Ignazio Spalla (aka Pedro Sanchez) giving nice performances. Spalla is one of the highlights for me of all the Sabata films.

Another thing I really enjoy about Sabata is the music. It's one of the better, more-catchy non-Morricone scores I've heard. I don't care how many times I've seen the movie, I always get that theme music stuck in my head. It's a silly tune, but it works for me.

8/10

Boot Hill (1969)

- La collina degli stivali
Okay, but nothing special, 1 June 2006

I've wanted to see Boot Hill for a while now, but it's been difficult to find a watchable transfer. I realize now that I haven't been missing much. For the most part, the film is standard Spaghetti Western stuff. A group of claim jumpers, lead by Honey Fisher (Victor Buono), have everyone in a small mining town under their control. Eventually, though, one of the townsfolk gets tired of being robbed and asks for the help of his friend, Cat Stevens (Terence Hill). Using a traveling circus as cover, Stevens is able to get into town unnoticed for a final showdown with Fisher and his gang of thugs.

Other than the use of the circus, the plot and action in Boot Hill aren't as original or as good as you'll find in some other films of this type. The final showdown is predictable and lacks any real tension. When Stevens finally meets up with Finch, the head bad guy, nothing much happens. Although most of the film is played straight, there are a few attempts at humor that feel out of place. For the most part, the acting is decent, but it's nothing to write home about. Hill, Bud Spencer, and Woody Strode are okay, but it's nothing special. The exception is Buono who is by far the standout in the film. Unfortunately, his screen time is limited and he doesn't even appear until the movie is half over.

Where Boot Hill excels and what makes it unique are the directorial and editing decisions made with the film. There are a number of instances where scenes of violence are quickly spliced with scenes of the circus. Gunfight – a clown playing a trumpet – a man gets shot – a trapeze act – hiding in a barn – dancing girls. It's a nice touch.

Finally, whether intentional or not, Boot Hill features several scenes that can best be described as homosexual in nature. From the miners dancing check-to-check in the opening to Bud Spencer calling the tall, blond, good looking cowboy he lives with "Baby Doll" to the unexplained relationship between Woody Strode and the young, good looking trapeze artist, there's an undeniable homoerotic feel underlying a lot of the movie.

5/10

If You Meet Sartana Pray for Your Death (1968)

- Se incontri Sartana prega per la tua morte
Nice Spaghetti Western, 23 April 2006

Nice Spaghetti Western. The story concerns four rival groups out to get a chest full of gold. While the plot is actually almost incomprehensible, it's fun to watch Sartana and others switch allegiances about every five minutes. But the story here is secondary to the action. The body count is very high with entire gangs being wiped out by the burst of a Gatling gun. Gianni Garko as Sartana and William Berger as Lasky are just fun to watch. It's not the best Spaghetti Western I've seen, but I'm glad to finally have a copy.

While the movie prominently lists Klaus Kinski in the credits, his screen time totals about 10 minutes.

7/10

Django (1966)

"You can clean up the mess, but don't touch my coffin.", 5 April 2006

Django is the film that turned me on to Spaghetti Westerns beyond those made by Sergio Leone. From the moment I saw Franco Nero dragging that coffin through the mud, I was a fan. And it's lost nothing regardless of how many times I see it. Django is ultra-cool, ultra-violent, and way over-the-top. What the film lacks in originality, it more than makes up for with some of the sweetest set-pieces the genre has to offer. Take the scene where Django finally opens that ever present coffin. The sight of Django mowing down dozens of red-masked baddies is one of those moments I watch movies for. The direction, acting, music, locations, and just about everything else you can name are dead-on perfect as far as I'm concerned.

My only real complaint, and this really has nothing to do with Sergio Corbucci or Nero, is the dubbing. The voice used for Django is about as lifeless as they come. Even in the most exciting of moments, that monotone voice never waivers.

Django is one of the examples I use when discussing the genius of Corbucci and his place in the history of the genre. I've often argued that if it weren't for Leone, Corbucci would be known as the Father of the Spaghetti Western. His films like Django, The Great Silence, Companeros, and The Hellbenders are required viewing for fans of Spaghetti Westerns.

9/10

It Can Be Done, Amigo (1972)

- Si può fare... amigo
What a bizarre plot!, 27 February 2006

I would love to briefly explain the plot of It Can Be Done, Amigo, but I don't think I'm capable. It almost defies words with its bizarreness. I'll give it a stab though. Bud Spencer is Coburn, the opposite of what I normally associate with the hero of a Spaghetti Western (SW). He's miles away from the image of the svelte Man with No Name. Coburn is a big man who looks like he may crush the horse he rides. He doesn't carry a gun, but relies on his powerful fists to defend himself. He is entrusted with safely delivering a young boy to his home after the boy's uncle dies. The trip won't be easy as hot on Coburn's heels is a wagon carrying the woman (Dany Saval) who insists on marrying Coburn, her brother (Jack Palance) who wants to kill Coburn, and the brother's traveling brothel. Once Coburn and the boy reach the boy's home, it seems that everyone in town, including the town's Mayor/Sheriff/Minister, is anxious to get it away from him, whether by buying it or killing to get it. Coburn's got to figure out a way to help the boy keep his land all the while staying one move ahead of his betrothed, her brother, and the Mayor/Sheriff/Minister who will stop at nothing to get the homestead.

Whew! That was difficult. But as confusing and crazy as the plot may sound, in the end, it all makes sense. Bud Spencer, as he proved in his many films with Terence Hill, has a flair for comedy and most of it works. Sure, there are a few misfires along the way, but you can generally count on Spencer to deliver. I cannot say the same for Jack Palance. Unlike almost every other review I've read on It Can Be Done, Amigo, I don't care for Palance in this film. His constant grimaces and sneering really didn't work for me. The rest of the cast is okay with Dany Saval giving a standout supporting performance.

As much fun as I had with parts of this film, I can't rate it any higher because of the sluggish first act. The movie starts off at a snails pace and I was really worried I might fall asleep if something didn't happen soon. A little better pacing throughout It Can Be Done, Amigo might have gone a long way to making this a truly memorable SW.

5/10

Navajo Joe (1966)

Another good one from the other Sergio, 1 February 2006

Joe vows revenge against a band of outlaws who have been killing and scalping his Indian brethren for bounties. Joe meets up with some folks in a town being threatened by the same outlaws. Joe sees this as his chance to get even with the cutthroats and offers his assistance to the townspeople – for a price. But can one seemingly ill-equipped Indian defeat a large group of outlaws armed to the teeth?

Navajo Joe is best known as the only Spaghetti Western Burt Reynolds made and that's too bad. Burt is okay – he neither adds much nor takes much away. Regardless of whether Burt is in it or not, it's a solid, early Spaghetti Western from the second best known Sergio – Sergio Corbucci. I've said it before, but if it weren't for Sergio Leone, Sergio Corbucci would probably be regarded as the best director to have worked in Spaghetti Westerns. Navajo Joe isn't anywhere close to being as good as some of his other films (Django, The Great Silence, etc.), but it's enjoyable enough and offers one of the few examples where Indian characters play even a small role in a Euro-Western. Sure, there are plot holes and characters routinely take the most stupid course of action available to them, but it's all good fun.

Ennio Morricone is, in my opinion, the greatest composer to ever work in films. His score for Navajo Joe is another winner. It may not be as well known as his work on Leone's Dollars Trilogy, but it's almost as good. Here, Morricone successfully combines Indian-style rhythms and chants with his traditional Spaghetti Western sound. I enjoyed it so much that I think I'll try to track down a copy.

7/10

This Man Can't Die (1967)

- I lunghi giorni dell'odio
Lackluster SW, 5 January 2006

As far as Spaghetti Westerns go, I'd put This Man Can't Die on the dull side of the genre. It's not that the movie is particularly bad, but it lacks the brilliance and flash of some of the other SWs I've seen. Guy Madison does his best in the lead role, but lacks the on-screen charisma necessary to pull it off. With one notable exception, the rest of the cast isn't particularly good. The direction is uninspired and offers very few moments that I haven't seen before. There's just not much to get very excited about.

The cast exception I mentioned is Rosalba Neri. She's the one bright spot in this otherwise mediocre film. Unfortunately, her screen time is limited to less than 15 minutes. (Note: The IMDb page for This Man Can't Die is wrong. Rosalba Neri does not play Jenny Benson. Instead, she is the character Melin. I'm not sure how anyone could mistake Rosalba Neri for some guy named John Bartha as listed in IMDb's credits for the movie.)

4/10

Minnesota Clay (1964)

Too restrained for my liking, 18 November 2005

Wrongfully imprisoned for a crime he didn't commit, Minnesota Clay (Cameron Mitchell) escapes to seek revenge against the man who refused to testify at his trial. He finds that his target, Fox (Georges Riviere), has made himself sheriff of Clay's hometown. Fox and his band of thugs run the town with an iron fist and generally terrorize the citizens. To make matters worse, Clay is slowly going blind. How can Clay ever hope to get his revenge if he can't see his target?

Sergio Corbucci is one of my favorite Spaghetti Western directors. If it weren't for Sergio Leone, Corbucci might be remembered as the best director the genre ever produced. Some of his movies like Django, The Great Silence, Companeros, and The Hellbenders are among my favorites. Sadly, I cannot include Minnesota Clay on this list. It's an earlier example of the genre and it shows. The movie plays more like a traditional American Western that just happens to have been filmed in Europe. It lacks a lot of the over-the-top violence that I associate with the Spaghetti Western. While there are set-pieces I enjoy (like Clay's meeting with the Mexicans or any scene with Ethel Rojo), as a whole, it never draws me in the way Corbucci's other movies do.

I've always been a big fan of Cameron Mitchell. He was more than capable of giving the kind of performance that should have been perfect for one of Corbucci's Spaghetti Westerns. But like most everything else in the movie, he comes across as far too restrained. It's too bad this movie wasn't made later in the Spaghetti Western cycle. I would have really enjoyed seeing Mitchell in a Django type film.

5/10

Shanghai Joe (1972)

- Il mio nome è Shangai Joe
Go, Joe, Go, 23 July 2005

The Fighting Fists of Shanghai Joe is easily one of the best Spaghetti Western / Kung Fu movies I've ever seen. Wait a minute . . . it's the only Spaghetti Western / Kung Fu movie I've ever seen. It's a strange mix of genres that actually works.

Joe is a Chinese immigrant in the Old West. All Joe wants is a job and a chance to make a new life for himself. He faces continual racial prejudices and injustice. Being a peace loving man, he takes it all in stride. But when pushed too far, he turns into a butt-kicking machine. When Joe sets a group of Mexican slaves free, the local "Big Man" hires four killers to get Joe. Can Joe's Kung Fu skills save him from these gun-toting, knife-throwing bounty hunters?

The Fighting Fists of Shanghai Joe has a lot of things working against it. Chen Lee, in the title role, isn't the most engaging sort of actor. He's actually rather bland. Klaus Kinski, who gets top billing, is on screen for less than 10 minutes. Mario Caiano brings nothing inventive of note to the direction. And the score by Bruno Nicolai, while entertaining, is not very original. But none of that really matters. This isn't art - it's about having a good time. And on that level, The Fighting Fists of Shanghai Joe works. Watching Joe kick the crap out of a bunch of cowboys is a real blast. The fight scene between Lee and Kinski is the highlight. If you've ever wanted to see a Kung Fu master fight after being shot in both legs, this is your movie.

8/10