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.
directors Luigi Batzella, Joe D’Amato
I’m going with Full Moon of the Virgins here, contrary to the title the movie is better known as: The Devil’s Wedding Night. That’s what it said on the version I saw, a literal translation of the Italian Il plenilunio delle vergini.
What neither really gives you is that this is a vampire flick. A sort of throwback Gothic vampire flick in the style of heyday Hammer Films.
Mark Damon stars as twin brothers researching some Wagnerian biz of German lore, only to step into a sort of gender-swap Dracula thing. The Countess Dracula is Rosalba Neri, and she’s got the goods as resident vampire lady.
I sensed a vein of humor running throughout. Not camp, per se, but playful?
I guess I’m at a bit of a loss to say why I liked it, but I did. The production is really pretty solid, putting location Piccolomini castle in Balsoranao to great use, and employing mostly nice cinematography.
And ultimately, you get those full moon virgins for the devil’s wedding night, eventually in their altogether.
directors Riccardo Freda, Mario Bava
There is debate about how much Caltiki – The Immortal Monster is Mario Bava and how much it’s Riccardo Freda. It doesn’t really matter. Certainly it’s not “pure” Bava. But there are certainly some shots that look like prime Bava.
For 1950’s sci-fi, there are some well-noted gruesome effects. I even sensed a little bit of Godzilla in the miniatures. I also found some of it to be quite Expressionistic.
What I found kind of odd was that a movie about a vengeful Mayan goddess, Caltiki, (d)evolves into a much more scientific description of events. Caltiki the monster is an irradiated amoeba, essentially, grown to huge proportions resulting from earthquakes and then further powered by a returning meteor. (I didn’t say it was “good” science).
I don’t know. I pretty much dig 1950’s sci-fi/horror.
director Giacomo Gentilomo
“Under the evil influence of Uranus,” Hercules Against the Moon Men is goofy peplum fun. Peplum is a new term to me for “sword and sandal” movies. I like it.
It totally channels old movie serials (maybe because as a genre it dates back to silent films and old genre tropes. That and more contemporary of television’s Batman.
Totally agree that Alan Steel is a very good Hercules.
The moon men are silly as fuck but awesome. Sadly they get hardly any screen time. This film needs more moon men.
Evil queen, Samara (Jany Clair), looks vaguely like a brunette Nancy Grace but without her harpy voice. She’s somehow worked a deal with the moon men to do evil.
Needs more moon men.
director Ferdinando Baldi
Sebastian (Leonard Mann) must return to “Oh-ah-saka” in “Meh-hee-ko” (varying degrees of proper pronunciation — actually thought they said “Osaka” at first) to avenge his father at the bidding of his long lost friend Rafael (Peter Martell).
The Forgotten Pistolero is a Spaghetti Western take on the tale of Orestes. Ferdinando Baldi’s tale of rightful revenge makes lists of the finest Spaghetti Westerns and features an iconic score by Roberto Pregadio, yet seemingly isn’t as well known as many others.
I was reminded again of the Spaghetti Western’s influence on the American revisionist Western (such as Peckinpah), depicting class disparities, outsiders and antiheroes, as well as it’s visual style and editing.
director Joe D’Amato
From the get-go, Joe D’Amato’s Caligula (1979) knock-off, The Emperor Caligula: The Untold Story (or amusingly tersely Caligula 2), seems remarkably tame. I mean an exploitation budget version of one of the biggest budget exploitation flicks of all time — where do you go to outdo Tinto Brass and Bob Guccione?
Well, if you hang in there long enough, it starts to get all sleazy and outré. It’s been super super long since I saw Brass’s Caligula so I’ve got little to compare upon, but I think it’s safe to say that D’Amato doesn’t manage to up the ante.
You do have D’Amato favorite Laura “Black Emanuelle” Gemser as a vengeful slave/concubine.
The Emperor Caligula: The Untold Story is a metaphorical iron poker up the rectum of exploitation cinema, though it offers just that very image non-metaphorically as well.
director Joe D’Amato
Ah, Laura Gemser…
I was first introduced to Laura Gemser and Emanuelle in Black Emanuelle (1975) and Emanuelle in Bangkok (1976) via Skinemax in the 1980’s. Lots and lots of skin and flesh and pretend sex (I’m sure I never saw a hardcore version of this stuff). Storytelling isn’t exactly secondary but certainly not the primary in this film series. Laura Gemser is the remarkable beauty so often in her altogether that drove this whole thing, and though I haven’t seen one of these things since the 1980’s, it’s really nice to see her again.
Emanuelle and the Last Cannibals, of course, is a “Black Emanuelle” movie and a cannibal flick too. Two exploitation tropes meet up and what do you get? A cannibal flick with a lot of sex scenes. Director Joe D’Amato goes all in for the cannibal bits too, some reasonably good gore.
The tastelessness of the cannibal genre is full-on here. Racism being core to this particular genre.
But really, I can’t help but think that the most bizarre moment comes early in the film when Gemser is undercover in a NYC mental ward when she basically sexually assaults a patient in a straight-jacket and then photographs her private parts.