Also known as: Il bianco il giallo il nero (original Italian title), Samurai (Canada), Ring Around the Horse’s Tail (US dubbed version), Shoot First… Ask Questions Later (US alternative title) Release Date: January 17th, 1975 (Italy) Directed by: Sergio Corbucci Written by: Amendola & Corbucci, Santiago Moncada, Renee Asseo, Antonio Troisio, Marcello Coscia, Sergio Spina Music by: Guido & Maurizio De Angelis Cast: Giuliano Gemma, Tomas Milian, Eli Wallach
Filmel, Mundial Film, Tritone Cinematografica, 112 Minutes
“[about to be hanged by a gang] I’ll never die without my boots on, and a star on my chest.” – Sheriff Edward Gideon
I’ve seen and reviewed about a half dozen Sergio Corbucci spaghetti westerns in recent years. I didn’t know about this one, however, until I stumbled across it while looking for something else. But I’m glad I did, even if it’s one of Corbucci’s weaker westerns.
Still, it’s a well cast film with three cool characters that had nice chemistry and provided solid performances that required dramatic and comedic acting with a little pinch of badassness sprinkled in.
People today would probably find the fact that Italian actor Tomas Milian plays a samurai in the Old West to be “problematic” and while the character is written mostly for laughs by tapping into cultural stereotypes, Milian still gives his character a certain panache and coolness when push comes to shove.
Spaghetti western legends Eli Wallach and Giuliano Gemma also add some fun to the proceedings, with Wallach playing a Sheriff and Gemma playing a typical western cowboy.
The plot sees this unlikely trio come together to track down a stolen Japanese horse that was intended to be a gift for the US government. The three men end up embroiled in a rivalry with a band of desperadoes that are made up of former Confederate soldiers.
Side note: this film was actually made as a loose parody of the Charles Bronson starring Red Sun. Milian’s samurai character would also reappear in the film Crime at the Chinese Restaurant in 1981, directed by Sergio’s younger brother, Bruno Corbucci.
Out of the Corbucci westerns I’ve seen, this one is, unfortunately, the weakest. But I can’t fault the director for trying to do something different for his last picture in the genre. While the characters are amusing and work fairly well together, the movie does kind of miss its mark and pales in comparison to Django, The Great Silence, Compañeros and The Mercenary. I’d also rank it behind Navajo Joe, which wasn’t anywhere near as goofy and borderline slapstick-y despite having more humorous bits than Corbucci’s other spaghetti westerns.
This also lacks the gravitas of those earlier films. Not that that’s a bad thing, per se, but Corbucci sort of had a particular style with his westerns and this plays more like a generic western comedy than the great action flicks one could expect from Corbucci.
Overall, I like the casting and I enjoyed their characters but apart from that, this is almost forgettable and probably only stayed afloat in a sea of spaghetti flicks due to who made it.
Rating: 6/10 Pairs well with: other Sergio Corbucci spaghetti westerns.
Lee Van Cleef is one of the greatest badasses of all-time. It didn’t matter if he was the villain or the hero, he just owned the screen every time he was on it.
He started out in small villainous roles in westerns before reaching unprecedented heights in his work with Sergio Leone. He went on to star in several spaghetti westerns and maintained a solid career until his death in 1989.
These are my twenty favorite roles that he has played.
1. The Good, The Bad and the Ugly
2. The Big Gundown
3. For A Few Dollars More
4. Death Rides A Horse
5. The Grand Duel
7. Day of Anger
8. The Magnificent Seven Ride!
9. The Hard Way
10. Escape From New York
11. The Octagon
12. The Return of Sabata
13. The Squeeze
14. High Noon (small role)
15. Beyond the Law
16. God’s Gun
17. Captain Apache
18. The Man Who Shot Liberty Valance (small role)
19. Posse From Hell (small role)
20. The Master (TV series but he starred)
The Dollars Trilogy, also known as The Man With No Name Trilogy, is one of the best film series there has ever been, capped off by the greatest film ever made.
These films also featured the best soundtracks ever created by the legendary Ennio Morricone.
But let me talk about all three of Sergio Leone’s masterpieces on their own.
A Fistful of Dollars (1964):
Also known as:Per un pugno di dollari (Italy), lit. For a Fistful of Dollars Release Date: September, 1964 (Italy) Directed by: Sergio Leone Written by: Víctor Andrés Catena, Jamie Comas Gil, Fernando Di Leo, Sergio Leone, Duccio Tessari, Tonino Valerii (all uncredited), Mark Lowell, Clint Eastwood (English version) Based on:Yojimbo by Akira Kurosawa, Ryūzō Kikushima Music by: Ennio Morricone (credited as Dan Savio) Cast: Clint Eastwood, Marianne Koch, Josef Edger, Wolfgang Lukschy, Gian Maria Volontè (as John Wells)
Jolly Film, Constantin Film, Ocean Films, Unidis, United Artists, 100 Minutes
“To kill a man you shoot him in the heart. Isn’t that what you said, Ramon?” – Joe (The Man With No Name)
The first film in the series is the smallest in scope. The story is very straightforward and compared to its sequels, it is pretty basic. It is still a fantastic film on its own and is one of the best westerns ever made. Had Sergio Leone just made this film and not the other two, it may have had the same level of love and admiration that accompanies The Good, The Bad and the Ugly.
It introduces us to the character referred to as “The Man With No Name”. In the film, he is casually referred to as “Joe” but it isn’t the true name of this stranger who wanders into town and changes things for the better before leaving.
This film is a template for the ones after it and that isn’t a knock, as it was executed greatly and fits well within the series that this trilogy became. You can tell that Sergio Leone is getting his feet wet with the western genre and for a first effort, this is a magnificent work of art.
It is also a lose remake of Akira Kurosawa’s Yojimbo. It turns the samurai wandering into a Japanese village and switches it to a gunslinger wandering into an Old West town.
Clint Eastwood truly owns the character and the villainous Ramón (played by Gian Maria Volontè) is a perfect foil for the hero.
The movie ends with one of the greatest and imaginative gun duels in film history. In fact, it would go on to be seen in Back to the Future, Part II and would inspire Marty McFly when he had to face his evil foil in a gun battle in Back to the Future, Part III.
Plus, the opening sequence of this film is absolute perfection and maybe my second favorite sequence in any spaghetti western, only surpassed by the finale of The Good, The Bad and the Ugly. But those two scenes were incredible bookends to this film series.
Rating: 9/10 Pairs well with: Any Leone spaghetti western.
For A Few Dollars More (1965):
Also known as:Per qualche dollaro in più (Italy) Release Date: December 30th, 1965 (Italy) Directed by: Sergio Leone Written by: Sergio Leone, Fulvio Morsella, Enzo Dell’Aquila (uncredited), Fernando Di Leo (uncredited) Music by: Ennio Morricone Cast: Clint Eastwood, Lee Van Cleef, Gian Maria Volontè, Luigi Pistilli, Aldo Sambrell, Klaus Kinski, Mario Brega
Produzioni Europee Associati (PEA), Arturo González Producciones Cinematográficas, Constantin Film, United Artists, 132 Minutes
“Alive or dead? It’s your choice.” – Monco (The Man With No Name)
The first sequel expands on the world of the first film. It feels bigger, the plot has more meat to it and our hero gets to team up with a bounty hunter named Col. Douglas Mortimer (played by the always spectacular Lee Van Cleef). The villain, El Indio is played by the previous installment’s villain actor, Gian Maria Volontè.
The two heroes work together and sometimes against one another in trying to take down El Indio and his gang. There are a lot of twists to the story and there is a lot more depth and layers than the plot of A Fistful of Dollars. Leone really found his stride in this film but it still wasn’t absolute perfection – that was yet to come.
This installment is also a bit more humorous than the previous film, in that the relationship between “The Man With No Name” (referred to as “Monco”) and Col. Douglas Mortimer is pretty chummy and entertaining. But this was Eastwood and Van Cleef in their prime, if you ask me. Both are magnetic, charismatic and each brings so much gravitas to any role that the cup was overflowing with masculine intensity.
As the story unfolds and the relationships build, you are left with a pretty lovable tale. Albeit a pretty badass lovable tale.
And as incredible as Ennio Morricone is as a composer, each chapter in this trilogy sees him evolve into something even greater.
Rating: 9/10 Pairs well with: Any Leone spaghetti western.
The Good, The Bad and the Ugly (1966):
Also known as: Il buono, il brutto, il cattivo (Italy) Release Date: December 23rd, 1966 (Italy) Directed by: Sergio Leone Written by: Luciano Vincenzoni, Sergio Leone, Agenore Incrocci, Furio Scarpelli Music by: Ennio Morricone Cast: Clint Eastwood, Lee Van Cleef, Eli Wallach, Aldo Giuffrè, Mario Brega, Luigi Pistilli
Produzioni Europee Associati (PEA), Arturo González Producciones Cinematográficas, Constantin Film, United Artists, 177 Minutes
“You see, in this world there’s two kinds of people, my friend: Those with loaded guns and those who dig. You dig.” – Blondie (The Man With No Name)
In my opinion, this is the greatest film ever made. It is perfect and truly has no flaws. Sure, westerns aren’t everyone’s cup of tea but some people eat laundry detergent because the Internet tells them to.
Clint Eastwood (The Good) is back, as is Lee Van Cleef (The Bad) who plays the evil Angel Eyes. Eli Wallach (The Ugly) joins them and becomes one of the best characters in cinematic history.
This is a three hour epic and not a single moment of film is wasted. Each segment serves the story well and fleshes out these dynamic characters. Everyone is given a chance to play off of each other and each exchange between characters drives the story forward and strengthens the relationship between all three men.
Even though Clint Eastwood’s “The Man With No Name” is the hero of this series, it is Eli Wallach’s Tuco Ramirez that is the actual star of this picture. He goes from annoying but funny bandit to a lovable and tragic character that you find yourself cheering for by the time this thing is over.
This film is a perfect example of how to develop characters well but with a minimalist approach. Their backstory doesn’t need to be spelled out in every detail. You can hint at their past, drop clues and come to conclusions based off of the emotion the actor wears on their face at certain points. Eli Wallach really gave an Oscar caliber performance here but these sort of films are ignored by elitist Academy snobbery.
The cinematography, the geography, the interiors – all are perfect. This film takes place in a massive and dirty world and it really feels like the American West, even though it was filmed in Europe in 1960s spaghetti western fashion.
The Good, The Bad and the Ugly plays like an old opera in its level of scope, story and violence. While the violence isn’t over the top, it serves a real narrative purpose and has a gritty authenticity about it that no other director has been able to capture since.
There isn’t a single thing about this movie that I would tweak, edit out or even try to expand on. I keep saying “perfect” and “flawless” because those are the only words I can even use to describe this untouchable film.
This is Sergio Leone’s magnum opus and the man was one of the greatest directors to ever live.
Rating: 10/10 Pairs well with: Any Leone spaghetti western.
Also known as: Uomo avvisato mezzo ammazzato… Parola di Spirito Santo (original Italian title), …Y le llamaban El Halcón (Spain), El halcón de Sierra Madre, Blazing Guns, Forewarned… Half-Killed… the Word of the Holy Ghost, His Name Was Holy Ghost Release Date: March 30th, 1972 (Italy) Directed by: Giuliano Carnimeo Written by: Tito Capri, Federico De Urrutia Music by: Bruno Nicolai Cast: Gianni Garko, Pilar Velazquez
Astro C.C., Lea Film, 94 Minutes
They Call Him Holy Ghost is a film that sounded much cooler from its synopsis than what the final product actually was. IMDb describes the film as “Gianni Garko returns as the Holy Ghost, a supernatural gunfighter dressed in white and with a dove sitting on his shoulder.” Man, that sounds friggin’ badass.
Gianni Garko is a legendary spaghetti cowboy, a supernatural gunfighter sounds intriguing and a sidekick played by a white dove… well, why the hell not? Plus, one of the pictures I saw online had Garko’s Holy Ghost blasting off one of those giant machine guns that were synonymous with Django and other roles Franco Nero played.
Then the film started and the opening sequence was just purely f’n awesome! Evil men, people treated like garbage to the evil men’s amusement, then the just and righteous Holy Ghost shows up with his dove and a machine gun, drops some quirky dialogue and turns the bad guys into Swiss f’n cheese! Sadly, it all goes downhill from there, though.
For 94 minutes, the film is slower than it should be. I had hoped that this would be as energetic and nuts as the original 1966 Django but it was pretty talkie and actually quite goofy. Sure, it had some action but this picture evolved into more of a comedy as it progressed. In fact, the longer the film ran, the sillier it got to where the big finale was sort of like a spaghetti western reinterpreted by slapstick performers. This would have been a cool film to have seen in a realistic and gritty spaghetti style.
This movie was mostly enjoyable even if it went off the rails after it’s great opening. Gianni Garko is always fun to watch and he committed to this role very well but the schizophrenic tone pulled me out of the movie and turned potential into disappointment.
Rating: 5.5/10 Pairs well with: Any spaghetti western starring Gianni Garko.
Also known as: El kárate, el Colt y el impostor (original Spanish title), The Stranger and the Gunfighter (alternate), Dakota (French video title) Release Date: 1974 (Spain) Directed by: Antonio Margheriti (credited as Anthony Dawson) Written by: Giovanni Simonelli, Antonio Margheriti, Barth Jules Sussman Music by: Carlo Savina Cast: Lee Van Cleef, Lo Lieh, Patty Shepard, Femi Benussi
The king of the spaghetti westerns that isn’t Clint Eastwood teams up with the king of kung fu movies that isn’t Bruce Lee. Sure, that sounds like a diss but I am a pretty big fan of Lee Van Cleef and Lo Lieh. Both men owned the 1970s in their own way, so seeing them come together is pretty interesting.
Sadly though, their talents and their team-up were wasted in this picture, which just doesn’t live up to whatever hype my mind might have had in the ’70s when this actually went down.
The film’s premise is pretty interesting though. Ho Chiang (Lo Lieh) journeys to America from China in search of his uncle’s fortune. He discovers that his uncle is dead and the only man that knows where his body is, is the one accused of murdering him, an Old West gunslinger named Dakota (Lee Van Cleef). Once the uncle’s body is found, the pair find clues that point to the fortune. This then becomes a real spaghetti western treasure hunting movie with kung fu flair. The reluctant pair must track down the uncle’s mistresses, each of whom have a section of the treasure map tattooed on their bums. Ultimately, the two men become friends and kick a lot of ass.
The problem with the movie is that the execution is poor and really kind of lazy. Van Cleef and Lieh are both solid but the script just isn’t there and everything is fairly pedestrian. This is a film that is an example of wasted potential. But then again, a studio specializing in spaghetti westerns didn’t have much experience creating kung fu pictures just as Shaw Brothers, even with their input on kung fu filmmaking, didn’t know how to make westerns. And really, I’m not sure how much input Shaw Brothers actually had, it seems pretty minuscule.
Still, if you like both of these men, this is worth checking out. It’s not a total waste but it won’t get you pumped up either.
Also known as: A Dollar a Head (US working title), Navajo’s Land, Red Fighter, Savage Run (alternate titles) Release Date: November 26th, 1966 (Italy) Directed by: Sergio Corbucci Written by: Dean Craig, Fernando Di Leo, Ugo Pirro Music by: Ennio Morricone (credited as Leo Nichols) Cast: Burt Reynolds, Aldo Sanbrell, Nicoletta Machiavelli, Tanya Lopert, Fernando Rey, Franca Polesello, Lucia Modugno
Dino de Laurentiis Cinematografica, C.B. Films, Dear Film, United Artists, 93 Minutes
“My father was born here, in the mountains. His father before him and his father before him and his father before him. Where was your father born?” – Joe
I have never seen Navajo Joe, which is probably a crime, as I love spaghetti westerns and consider myself an aficionado of them. I especially love the western films of Sergio Corbucci and I have always been a big fan of Burt Reynolds, a man too cool for just about anyone they put him in a movie with. Also, this has one of the greatest scores that Ennio Morricone ever did. In fact, some of this songs here have been reused in other films.
Burt Reynolds plays Joe, a Navajo badass that wants to avenge the slaughter of some of his people and his woman. He tracks the killers and finds that they are taking advantage of a desert town and that someone in the town is working with them. He offers his services to the citizens at one dollar a head, to be paid by each person in town. The town is reluctant to pay Joe and realistically, if Joe is just planning on getting revenge, he should just go for it. But I guess making some money isn’t a bad thing. He gets mixed up with a local woman of Navajo decent but ultimately, only cares about his dead love. Navajo Joe is a true drifter with revenge in his heart. He’s got no time for love, only time for justice served with a hearty helping of lead.
Corbucci, one of the three Sergios of Spaghetti Westerns, made this film just after Ringo and His Golden Pistol and his most famous classic Django. This is a film that carries on the quality that Corbucci westerns were known for. While it isn’t quite the masterpiece that Django was, it is still a balls-to-the-wall violent action epic that will leave you satisfied. Revenge stories are great and adding in Burt Reynolds was a pretty cool touch, even if Corbucci didn’t know how great the man would become, as this is very early in his acting career.
The action sequences were well shot and very fluid. I liked the fighting style of Reynolds’ Joe as he slithered around the dirt and in and out of the train, killing off scumbags in the process. The film’s action was well choreographed, unique and interesting.
Navajo Joe is a good western and after seeing it, it would have been cool if Reynolds and Corbucci did a few more. I liked Reynolds in this role a lot and this played really well, mainly because the script was good and Corbucci is just a great director that probably deserves more credit outside of his preferred genre.
Also known as: Django Rides Again, Django Returns (both US informal titles), Desperado (US cut version), Keoma: The Avenger (US dubbed version), Coolman Keoma (West Germany video title) Release Date: November 25th, 1976 (Italy Directed by: Enzo G. Castellari Written by: Mino Roli, Nico Ducci, Luigi Montefiori, Enzo G. Castellari, Joshua Sinclair (dialogue – uncredited) Music by: Guido & Maurizio De Angelis Cast: Franco Nero, William Berger, Olga Karlatos, Woody Strode
Uranos Cinematografica, Far International Films, 101 Minutes (original), 85 Minutes (US cut version)
“I need to find out who I am. To give the simplest of my actions a reason. I know by being in this world has some significance, but I’m afraid that when I found out what it is, it will be too late. In the meantime, I’m a vagabond. I keep traveling. Even when the earth sleeps, I keep traveling… chasing shadows.” – Keoma
Who doesn’t want to watch a movie where Franco Nero and his chiseled visage and dreamy eyes take on the appearance of Jesus of Nazareth as a badass gunslinger? Okay, he isn’t Jesus of Nazareth, he is Keoma, but damn, he looks like some sort of spaghetti western Messiah here to save us from mundane and derivative spaghetti schlock. I mean, it’s like Jesus and the original Django had a baby and gave him tight pants, a cool hat and some big guns. Never has a man looked so manly, so pretty and exuded some sort of mystical sexual fire by simply standing within the frame of scratchy and grainy celluloid.
I’ll admit, I have never seen Keoma, even though I am a big fan of Nero and spaghetti westerns. Now that I have, it is pretty high up on my list of Nero gunslinger pictures. Man, he is so damn good in this and his gaze is chilling when he needs to communicate that he’s coming for your ass. Franco Nero just has a presence and never has that presence been as strong as it is here, even if he isn’t spraying down dozens of evil soldiers with a giant Gatling gun yanked out of a casket.
The film is directed by Enzo G. Castellari, a guy not necessarily known for quality but known for having a real sense of style and accomplishing a lot with very little. The man made magic with the 1978 film The Inglorious Bastards, a film that inspired Quentin Tarantino to “borrow” its title. He also did the extremely low budget but impressive 1990: Bronx Warriors, a sort of Italian ripoff of Walter Hill’s classic The Warriors.
Keoma is damn good for what it is. It isn’t just a throwaway spaghetti western in a sea of similar films. It is ballsy and gritty and showcases the great Franco Nero in his best kind of role. It is also one of the best films Enzo G. Castellari ever directed.
Sergio Leone is my second favorite director of all-time (following Stanley Kubrick). Like Kubrick , I don’t think that he was capable of a bad film. When watching a Leone film, at least for me, I am not just watching a movie, I am living an experience. Here, I have ranked the motion pictures he directed.
1. The Good, The Bad & The Ugly (Dollars Trilogy, Part III)
2. Once Upon A Time In the West
3. Duck, You Sucker! (a.k.a. A Fistful of Dynamite)
4. For A Few Dollars More (Dollars Trilogy, Part II)
5. A Fistful of Dollars (Dollars Trilogy, Part I)
6. My Name Is Nobody
7. Once Upon A Time In America
8. A Genius, Two Partners & A Dupe
9. The Colussus of Rhodes
10. The Last Days of Pompeii
It has been too long since I did the first installment of this series of reviews for the unofficial Django sequels. So I figured that it was about time that I pick it up and do the second installment. I actually own enough Django films to do at least five of these.
The original Django was an enormous success in 1966. It opened a lot of doors for its star Franco Nero and its director Sergio Corbucci. The film also inspired unofficial sequels to be created by a multitude of studios because copyrights in Europe back then weren’t as strict as they are in the United States.
There are forty-six Django films listed on his character page on Wikipedia. Most of those are lost to time. A dozen and a half or so, are still out there on streaming services, DVD or VHS – if you can track them down. Some are free on YouTube. Anyway, I’m trying to see as many of them as I can.
Some actually feature the character of Django and some just use his name in the title due to its popularity, even though the character isn’t in the film.
As I watch these films, I will review a few at a time. They won’t necessarily be in chronological order, as that doesn’t matter anyway, as none of these films are really connected to each other apart from a word in their titles.
A Man Called Django! (1971):
Also known as: W Django!, Viva! Django Release Date: September 29th, 1971 (Italy) Directed by: Edoardo Mulargia Written by: Nino Stresa Music by: Piero Umiliani Cast: Anthony Steffen
14 Luglio Cinematografica, 90 Minutes
Anthony Steffen has played a version of “Django” more times than the original Django, Franco Nero. Steffen’s movies are usually pretty good for knockoff spaghetti fare and he may be the most recognizable actor associated with the Django name, other than Nero… and now, Jamie Foxx.
A Man Called Django! a.k.a. W Django! a.k.a. Viva! Django is a better than decent spaghetti western on its own. It is one of a few examples of a Django picture that didn’t need to be connected to Django because it would have actually been better as its own standalone film. And in retrospect, it kind of upsets me for Anthony Steffen, who could have easily broke out as his own star and didn’t need to be the king of unofficial “Django”s.
This spaghetti extravaganza follows Django, as he sets out to exact revenge on the man who murdered his wife. He has help from a horse thief named Jeff and what we end up witnessing is a movie with more layers to it than what is first suspected. It starts out like a straight up revenge flick but evolves nicely due to some twists and turns.
The action is pretty good, the acting is solid from Steffen and fairly average from the others. The music really stands out but a lot of these Django films have pretty stellar scores that mimic the original’s style.
If you are going to delve deep into Django ripoffs and clones, as I have, I’d have to say that this is one of the few high points. Although, the editing is a bit sloppy in parts and in one scene Django literally punches a guy from a nighttime shot to a daytime shot.
Django the Runner (1966):
Also known as:Le colt cantarono la morte e fu… tempo di massacro, lit. The Colt sang death and it was… Massacre Time (Italy), The Brute and the Beast (US), Colt Concert (UK), Massacre Time Release Date: August 10th, 1966 (Italy) Directed by: Lucio Fulci Written by: Fernando Di Leo Music by: Lallo Gori Cast: Franco Nero, George Hilton, Nino Castelnuovo
Mega Film Colt, I.F. Produzioni Cinematografiche, Panta Cinematografica, American International Pictures, 89 Minutes
Lucio Fulci, most famous for directing several classic Italian horror films – most notably Zombi 2, also directed a handful of spaghetti westerns.
In Massacre Time, he directs Franco Nero, who was just coming off of his biggest hit Django. This movie was actually repackaged as a Django film in some international markets, making it one of several dozen unofficial Django pictures. Although, this has nothing to do with the character of Django. Nero plays someone else entirely.
Massacre Time sees Franco Nero return home to find everyone that he knows and loves to be under the rule of evil land barons. He quickly develops a rivalry with the son of the evil patriarch. This leads to a brutal bullwhip fight and other confrontations between the two. The bullwhip fight is the highlight of the film for me, as it was actually quite intense and nasty.
Nero teams up with his brother in a war against the land barons. There is a lot of action and typical spaghetti western violence. The style of the film isn’t all that refined but it certainly feels like the tone of a Fulci picture.
It isn’t a great movie but it gets a lot of praise from spaghetti western aficionados. I found it to be pretty dull for the most part, except for the bullwhip battle. The final battle is a bit clunky and has no real suspense. The film just sort of ends with a resolution that felt half-assed on execution. But it was also an early film in Lucio Fulci’s catalog and probably a big learning experience for him.
Hanging For Django (1969):
Also known as:Una lunga fila di croci (Italy), A Noose For Django, No Room to Die Release Date: April 18th, 1969 (Italy) Directed by: Sergio Garrone Written by: Sergio Garrone Music by: Vasco Vassilli Cast: Anthony Steffen, William Berger
Junior Film, 97 Minutes
Anthony Steffen is back!… Again! Apparently he wasn’t sick of playing various incarnations of Django. In fact, maybe his movies are actually sci-fi pictures, as we are peeking in on different Djangos from different dimensions and timelines. Actually, he isn’t even named Django in this one, he is referred to as “Johnny Brandon”.
This movie teams up Steffen with another spaghetti western great, William Berger. Both men form an alliance, as bounty hunters, to stop a rich guy that is smuggling in immigrants and doing other criminal things. It sort of starts like the relationship between Clint Eastwood and Lee Van Cleef in For A Few Dollars More but then there are double crosses and lots of fun twists to the plot.
For another film ripping off the Django name, this one could have survived on its own merits. It was a good spaghetti picture and the chemistry between Steffen and Berger was pretty awesome. Steffen is such a good hero and Berger always does a magnificent job with these sinister weasel roles. Just look at how he almost steals the show away from Lee Van Cleef in the original Sabata.
Hanging For Django is actually my favorite of the three pictures from this set. Strangely, the one actually starring Nero (the original Django) was the one I liked least. However, all three are pretty close to the same level. This one just gets a slight edge because I really liked the Steffen-Berger match up. This one was also better shot and edited than the two other pictures here.
There’s also a seven barrel shotgun in this movie… seven!
Also known as: Cimitero senza croci (Italy), Une corde… un Colt… (France) Release Date: 1969 (France) Directed by: Robert Hossein Written by: Robert Hossein, Claude DeSailly, Dario Argento (Italian version) Music by: Andre Hossein Cast: Michele Mercier, Robert Hossein, Lee Burton, Daniel Vargas, Michel Lemoine, Anne-Marie Balin
Loisirs Du Monde, Copernicus Films, Fono Roma, Les Films Fernand Rivers, Euro International Film, 90 Minutes
Cemetery Without Crosses is a pretty obscure spaghetti western that has been lost in time and because it is part of a genre that has been dominated by the Three Sergios (Leone, Corbucci and Sollima), as well as other better known directors: Duccio Tessari, Giuseppe Colizzi, Enzo G. Castellari, Tonino Valerii, Gianfranco Parolini, Fernandino Baldi, Giulio Petroni, Lucio Fulci and others.
Cemetery is directed by one of its stars, Robert Hossein. He worked together with spaghetti maestro Sergio Leone when he had a small role in the masterpiece Once Upon A Time In the West. He learned a lot from the maestro in his short time, watching him work. In fact, he dedicated this film to Leone.
This picture is actually a great representation of the upper echelon of spaghetti westerns. While not quite as good as Leone’s epics, it still displays amazing cinematic prowess for a director that didn’t have the experience of his idol.
Hossein did a fantastic job of framing his shots, using lighting to enhance the narrative in creative ways and he had a real sense of how to effectively create depth of field. For an example of the latter, look at the scene where Manuel (Hossein) and Diana (Balin) walk back to the ghost town in the distance.
The story of the film is interesting and not a rehash of dozens of other spaghetti westerns, as many of these films can blend together due to their narrative similarities. There is a battle between two gangs, one of the men is killed, the cut of his money is given to his widow. The widow, wanting revenge, uses the money to hire her ex-lover, Manuel. The widow and Manuel plot to kidnap the daughter of the opposing gang in an effort for the widow to have her husband properly buried in a legit cemetery. The story has a lot of twists and turns and it can get complicated if you’re not paying attention but it is well constructed even if it has a lot of parts and may have been overly ambitious, especially for just a running time of ninety minutes.
Cemetery Without Crosses is a well made western with solid gravitas. It is also great in that the women in this movie have brass balls and may even be tougher than the men. Who says we’ve never had strong women in movies until Wonder Women?
I actually love this film and it is one of the best in the genre, even though it isn’t as recognized as it should be.