director Sergio Grieco
Cinematography is the star in Beast with a Gun (aka Mad Dog Killer). It’s brutal and somehow quaint at the same time (The Italy of the time and all those little cars and mopeds!)
Occasionally I picked up a sort of A Clockwork Orange vibe, maybe just in the rampant sadism rather than the film style.
“Have you any money? These are all false, all counterfeit. Only good for the movies.”
director Giancarlo Santi
Giancarlo Santi’s The Grand Duel isn’t itself quite grand. It features some excellent sequences, stylishly shot, but it shifts back and forth between more dramatic scenes and comic ones, giving an odd, unsettled tone.
Apparently, it suffers the impact of They Call Me Trinity (1970), a watershed of sorts for the Spaghetti Western, in which a successfully comic tone was then forced upon many other comers, signalling the beginning of the fade of the genre.
This was Santi’s first film as head director, having worked alongside Sergio Leone and other notable Italian filmmakers. The comedy is particularly odd in its placement, coming right after some very serious dramatic sequences, really throwing off the vibe.
The cast is good, in particular Klaus Grünberg, who plays a pockmarked pretty boy sadist (also clearly meant to be read as homosexual and not in a progressive way). Grünberg exhibits the malice of a good villain.
The Duel itself comes at the end, and even as the dramatic climax happens, the music breaks into a more jovial tune, a final punctuation of the film’s mixed-up sensibility.
director Lamberto Bava
Meta-horror moves from the movie theater into the home via television in Lamberto Bava’s sequel, Demons 2.
Watching horror films apparently makes them come to life in mid-Eighties Berlin. At least we have a pretty solid “alternative music” (what it was briefly dubbed round about that time) soundtrack to go die to.
A lot of people seem to diss or dismiss this movie, but I thought it was hilarious and entertaining.
director Franco Rossetti
The Dirty Outlaws is another of the Quentin Tarantino top 20 Spaghetti Westerns.
It begins in media res, with a horse thief being hung for his crimes, only to be rescued by a fellow outlaw garbed as a priest. This is all before the main plot is established in which near-hangee, Andrea Giordana (billed as Chip Carman) takes the identity of a dead Confederate soldier.
The crucible for the story is a ghost town abandoned in plague and war except for a blind old man and his aide holding out hope for the return of his son from the waning days of the Civil War. Throw in some other escaped soldiers and the titular gang of “dirty outlaws” after a gold shipment, not to mention the lead moll of the gang, an ex-compatriot of our anti-hero, and the tinderbox is lit to explode.
Though not as stylish or bizarre as the best of the genre, the story drives the film. Which may be in part because director Franco Rossetti was known more as a screenwriter than director.
It’s a good yarn. Good movie.
director Tinto Brass
The 1960’s and early 1970’s were radical times, in the world, and in the cinema. “Avant-garde” may have been a recycled term to describe a lot of what was coming out influenced by the French New Wave and further radicalization, but challenging times made for challenging films, and particularly, films that challenged cinema, meaning, and all things status quo.
Though Tinto Brass is often described as avant-garde, as is his 1969 film Attraction, I found myself questioning its rigor.
Anita Sanders is a young woman about town (the town being London), and the film is arguably all her perspective, her looking (voyeurism and desire) and interior images from her mind and impressions. It’s about sex and sexuality, sure, but also Vietnam, advertising, art, race, violence, all to the decidedly psychedelic groove of Freedom (the band).
For my money, the success level of Attraction‘s avant-garde-ness is moderate. I’m thinking of other films of the era that I’ve seen that were more radical and challengeing. Take a lot of Godard, but more specifically Věra Chytilová’s Daisies (1966), Jaromil Jireš’s Valerie and Her Week of Wonders (1970), Dušan Makavejev’s W.R.: Mysteries of the Organism (1971), and to some extent as well, Marco Ferreri’s Dillinger Is Dead (1969).
I don’t know. I’ll see how it sits. It’s cool but not too cool.
director Eugenio Martín
The Ugly Ones features a lean, deft premise: a bounty hunter is after a popular criminal. Tomas Milian is Jose, the Mexican kid turned storied outlaw, a “Jesse James type”, ensnared by fortune-seeking free agents, not traditionally legitimate lawmen. Richard Wyler is the straight-shooting freelancer, but who is the real villain of this picture?
The Ugly Ones is also known as The Bounty Hunter, which is the name of the Marvin H. Albert novel from which it was adapted. Eugenio Martín’s Spaghetti Western offers a kind of noirish characterization – moral ambivalence, at least initially, on either side. Though, as the film wears on each protagonist starts to show his true colors.
In between the men is Eden, an interesting role for Ella Karin (a.k.a Halina Zalewska). No shrinking violet, she’s reaching for a pistol when we first spot her, hearing an intruder breaking in. She is at the heart of the village’s understanding of Jose, an active participant in the story, and moral barometer as well. Maybe a little too stylish for a Western but an interesting character and good performance.
It’s tight and aesthetically pleasing production. The Ugly Ones makes Quentin Tarantino’s list of top Spaghetti Westerns. As usual, his favorites are worth investigating.
director Joaquín Luis Romero Marchent
Cut-Throats Nine arrives as advertised, a pessimistic and violent Western, filmed in the snowy beauty of the Pyrenees. Its delicious premise, a lone lawman and his daughter are marching a chain gang across the snowy mountains, is inherently fraught with tension. The simplicity of this scenario is upended when it turns out that the chains that hold the men together are made of the gold that they had mined. And the intentions of even the lawman are thrown into deep doubt.
Joaquín Luis Romero Marchent uses interesting freeze frame preludes to flashbacks, stylizing further the backstories to the rough-hewn characters. Marchent and cinematographer Luis Cuadrado make the most of the gorgeous, icy landscapes.
It’s probably my second favorite Spaghetti Western I’ve newly seen this year, after Cemetery Without Crosses (1969). Interesting since these two aren’t purely Italian films and feature directors who were French and Spanish. Not that any grouping or genre needs to be completely neat and clean.
director Duccio Tessari
Duccio Tessari’s 1965 Spaghetti Western, The Return of Ringo, reinterprets The Odyssey in a post-Civil War drama of return and revenge. Spaghetti-western.net features a keen analysis of the film, suggesting Tessari (as others in the genre) would use the setting of the aftermath of the American Civil War as a thinly veiled metaphor for post-WWII Italy, the return and rectification of morality in a shattered and invaded landscape.
Interestingly, when Ringo returns to his home post-war, the bandits have taken over the town and the homestead, hold his wife in their clutches, as well as a little daughter he didn’t know he had. These dudes are Mexicans and are very racist against Americans, won’t allow them to own property or firearms.
Thus: “The Return of (G)ringo”
The Return of Ringo is a notable Spaghetti Western, on many lists of the best of the genre. And it’s solid, though it didn’t really overly impress me. Actually, reading the Spaghetti-western.net article gave me further pause to reconsider. Still, some films grab you, while others just wave “hello.”
director Giorgio Ferroni
The Family of the Vourdalak, a novel by Aleksey Konstantinovich Tolstoy (the “other Tolstoy”), is the source material for Giorgio Ferroni’s The Night of the Devils. It’s also known for being the source material of the “I Wurdulak” segment of Mario Bava’s fantastic Black Sabbath (1963).
Yeah, I know, everybody knows that or can look that up on Wikipedia.
I actually don’t have a lot to offer here that others have not said already. The Night of the Devils is a different flavor of Italian vampirism, salted with its variant folklore. There is something strange and hard to put one’s finger on about modernizing the story to the then present day 1970’s. It’s sort of dislocated, like having stepped into a dream (or nightmare) of more Gothic times. It also features some very evocative effects on top of it all.
Well worth seeing.
director Gianfranco Parolini
I’ve been working through a variety of lists of the “best” Spaghetti Westerns that I haven’t seen, something I’m cobbling together from a variety of sources. And I’m finding how many of these are available on Amazon Prime. Happily many.
If You Meet Sartana Pray for Your Death launched another named antihero to the genre, starring Gianni (John) Garko as Sartana, the guy you don’t want to meet.
“You look just like a scarecrow.”
“I am your pallbearer.”
Armed with a cool four barreled Derringer, he strides into what I guess is a story about teams of robbers and other teams of robbers and local gentry robbing themselves for insurance money and a coffin full of gold (or rocks.) Apparently it’s not just me, the story is pretty hard to follow.
Luckily Gianfranco Parolini does better with the action than the story. It’s derivative but also employs other genre elements of giallo and horror, giving it some flavor.
Even with a very inept dub and an abbreviated role on his voice Klaus Kinski is by far the best actor in the film.