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LLEGO, VEO,

I come, I see, shot

1968 Spain-Italy
Director: Enzo G. Castellari
Cast: Antonio Sabato, John Saxon, Frank Wolff , Agata Flori, Leo Anchoriz, Antonio Vica, Rosella Bergamonti, Jesefina Serratosa, Edy Biagetti, Leonardo Scavino, Caterina Trentini, Paolo Magalotti, Margaret Horowitz, Roberto Fuentes, Pilar Velázquez , Tito García, Claudio Castellani, Jose Maria Tasso, Ivan Scratuglia, Luis Barboo, Víctor Israel , Maria Vico, Hercules Cortez, Pietro Ceccarelli
Guion: Augusto Finocchi, Vittorio Metz, Jose Maria Rodriguez, Enrique Llovett
Fotografía: Alejandro Ulloa
Musica: Carlo Rustichelli

Italian-English co-production directed in 1968 by Enzo G. Castellari, son of the director Marino Girolami and one of the leading representatives of the spaghetti westerns that made his debut in this subgenre, although uncredited, in "Fencing of violence" (1967). Director endowed with an undeniable visual impression, but to me, quite irregular with prominent titles as "Johnny Hamlet" or even essential as the twilight "Keoma " along with other really disappointing ("Te Deum ) . Spaghetti out of this irregularity is repeated as after leading two notable poliziescos featuring his friend Franco Nero ( "Il cittadino si ribella" and "Police arrest, the law deems" , both of 1974) or a tape war of religion, "That damned armored train" (1978) to paid tribute to Quentin Tarantino, went on to become the eighties in one of the leading representatives of so-called Eurotrash with films like "Jaws 3 " for which he was sued by the powerful Universal to understand that he had plagiarized the famous Spielberg film or post-apocalyptic triptych which highlights "The New Barbarians" (1982), a clear homage to "A Fistful of Dollars" ; to engage in the nineties to products intended basically to television.

Moses Lang, a three a fourth robber, miscarriage the attempted assault on an errand, carrying $ 400,000 committed by Edwin Kean, an actor turned-robber . After overcoming their differences, decide to recover $ 400,000 in the bank now Springwood. Once committed the theft, will be joined by Clay, another actor and adventurer, as much of the money stolen by them had won playing poker and therefore belongs to him. From that moment the three rogues try to deceive each other in order not to share the spoils, and will face the army that seeks to recover and men to Garritan, a fearsome Mexican bandit.

Part two of a trilogy that began with peculiar "I go back and kill him" of 1967 ( film that paid tribute to "The Good, the Bad and the Ugly" ) and "Kill them and becomes" of 1968 (with clear influences of that feature both Leone and the war film "Dirty Dozen" ) which for me is the weakest of the three, because if the first introducing comic elements (especially in a couple of fight scenes in which could see the imprint of, among others, several classics of adventure films starring Burt Lancaster as "The Crimson Pirate" ) but they were well integrated into a serious plot, here are openly prefers the crazy comedy, a fact in which no doubt played an important participation in the script, along with the most common in the spaghetti Augusto Finocchi, writer Vittorio Metz responsible for most of the scripts designed for the great comic actor Toto.


So, after a promising start, the film becomes a succession of chases and fights supposedly fun featuring three players who eventually become very long, ponderous and boring, and it is the culminating clash a river as a water polo match in which the protagonists are thrown the bag containing the money as if the ball while they are killing people of Garritan. Therefore I think this spaghetti can be considered as a clear record of "They Call Me Trinity" film based his humor, in addition nifty replicas, in the many fun fights allegedly staged by the two main actors, and all its imitations, which managed to revive this sub-genre for a few years, but finally ended to sink.



eurowestern However, this has elements that clearly distinguish it from most comic spaghetti that proliferated after the success of the film and put Barboni, I understand, on top of them:


Some gags quite achieved as surreal situations that occur when Edwin dress, that as a good actor has a tendency to transvestism, a priest, even leading him to officiate a dirge for a dead, or the bizarre conversation in a Clay Church with a priest, brother Rosario, the bride of Moses is supposed to have been pregnant with the first, made by the entire family is chasing him and so took refuge in the church.


Certain doses of violence, the house brand Castellari, and hits quite the long and realistic shootout between men Garito and Union soldiers joked with the rest of the film.


Castellari The careful direction, that is, for me, well above the story that (the presentation of Clay or the aforementioned shooting long I think are good examples of this).


As regards the holiday soundtrack composed by Carlo Rustichelli, I believe that management is next to the best of film and fits very well to the comic tone of it.


As for the actors is an imbalance in the trio. So we Ernesto Sabato, actor rather limited, which to give birth to Moses Lang intended, but failed, Guiliano Gemma emulate constantly smiling and doing somersaults, John Saxon a mediocre actor who was lucky to take part in a movie interesting ( "The Unforgiven" , 1960) and soon was seen in European productions, it I seemed quite lost in the role of player and actor Clay Watson, but instead Frank Wolff, with whom Castellari repeated in a different role in "Kill them and becomes" is great as Edwin. Joining them Anchoriz Leo, a remarkable actor who appeared in many spaghetti, shown convincing villain Garritan skin, and like Frank Wolff and Hercules wrestling champion Cortes, here with a small role as strongman brother Rosario, repeated in the third part of the aforementioned trilogy, while I found something Agata Flori overacted the role of the jilted girlfriend Rosario Moses, a man of some importance which disappears the last third of the film. As a curiosity, and reinforcing the film's comic character, to tell you that I recognized the role of the priest's brother José María Tasso Rosario, an actor with a peculiar face that served as secondary in many English plays of the fifties and sixties.

In short this is a comedy with an element of spaghetti that despite the efforts of its director aimed at giving it a more formal finish that is right for much of his footage repetitive and boring, and announced in what, unfortunately, largely become the spaghetti in the first half of the next decade.


SCORE:

HISTORY: 3
AMBIENTE: 4
ADDRESS: 6
ACTORS: 5
MUSIC: 6

MEDIA: 4.8

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TRIP " Silver Bullet "DJANGO

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DJANGO

1966 Italy / Spain
Director: Sergio Corbucci . Interpreters
: Franco Nero, Loredana Nusciak, José Bódalo , Eduardo Fajardo, Angel Alvarez, Rafael Albaicin, Gino Pernice, Luciano Rossi, Jose Terron, Silvana Bacci, Simon Arriaga, Ivan Scratuglia, Erik Schippers, Jose Canalejas , Remo de Angelis, Rafael Vaquero, Guillermo Mendez. Screenplay
: Sergio and Bruno Corbucci.
Photo: Enzo Barboni. Mounting
: Baragli Nino and Sergio Montanari.
Music: Luis Enríquez Bacalov.
Producers: Sergio Corbucci and Manolo Bolognini.

SYNOPSIS : Django is an enigmatic gunslinger who wanders aimlessly and dragging a coffin pit two factions (a group of Confederates led by Colonel Jackson and some Mexican revolutionaries headed by General Rodriguez) that vie for control a semi-abandoned village on the border between Mexico and the United States.



This is a spaghetti that film became a cult favorite among fans of this subgenre and was instrumental in the development of western made in Europe. The film begins with a coffin carried by a man and ends with a plane of a cross on which rests a colt, between the two images tells a story with marked religious connotations of sin, guilt and redemption (the gunman after being subjected to brutal torture he realizes that has been driven by greed and just what should have been done much earlier). The religious references are numerous: the hero behaves like an avenging angel who frees the oppressed, even seeking their own benefit, of a "military " foreign (we are in a borderland between Mexico and the U.S.), the first person who saves a prostitute named Mary who, like Mary Magdalene, will be true throughout the film, the character is betrayed and tortured by those who came to deliver, the foreign army is composed of forty men, magic number that is repeated in the Scriptures, the owner of the saloon that will support you after have been tortured and protect Mary is called Nathaniel, Hebrew name that means something as a gift of God are numerous references to the cross-fire as a purifier of sins, and so on.


Co, 1966 with its director Sergio Corbucci, who had already participated in two eurowesterns ("Slaughter in the Grand Canyon" and "Minnesota Clay" ) became one of the greatest representatives of this subgenus, while its star Franco Nero, who had acted as an actor in a film, it became one of the biggest stars of Westerns made in Europe . Also repeated on two other collaborative core projects first: "Pay to Kill" and "Peers" both set in full Mexican revolution and in which Nero almost repeated the same character of European mercenaries.



The great success of spaghetti, for me, is that Corbucci carried further the principles and findings of Sergio Leone:


By moving the action from the sunny landscapes of Almeria to the muddy landscape of Madrid and surroundings (the film was shot basically in Colmenar Viejo and La Pedriza) brings out the dirty aesthetic, Feist and disheveled, showing us characters who, with his clothes soiled and muddy, move by real mud. And this must be added a ghost town abandoned semi decadent and in which only remain the owner of the saloon and a decrepit prostitutes (the presentation of them is great).


There is a greater glorification of violence. The movie is not only one of the spaghetti in which there are more dead, at least the ones I've seen, but is characterized by rawness, and pointed in his previous westerns of the violent scenes: Mary flogging the presentation of Jackson in a kind of target shooting with Mexicans, famous in which General Rodriguez, who shows us how cruel and sadistic as Jackson, he cuts off the ear of one of Jackson's men and forces to eat (which inspired Tarantino to another no less famous in his "Reservoir Dogs" ) or one in which the director is recreated Rodriguez while men fractured hands Django (idea would resume in, superior to me, "Into Great Silence" ). So no wonder that in 1966 had problems being released in some countries (in Spain was released in Britain censured and could not see, from what I read, until 1993)


are promoted the characteristic traits of Leo's antihero, and increase its brevity and its amorality (both Man without a name and Manco, although characterized by their greed, are capable of carrying out some kind of action shows some generosity on the other hand, while looking Django here, almost to the end, his own benefit).


Moreover, Corbucci gives us a handful of scenes of high impact, unlike what happens in most of the spaghetti, remain in memory:


-The beginning with the protagonist dragging the coffin (the symbol of a painful past) through the mud is hypnotic and you hooked to the film, besides showing a man who seems to wander without a fixed course.


"The confrontation with the men of Jackson holding Django Gun is great.


"The outcome is marvelous and a visual richness seldom surpassed in this subgenre, and it shows us, finally, a hero in a supreme effort to get back to the straight path abandoned it long ago.


And all this must be added an outstanding job of setting work of one of the greatest practitioners of this subgenre, Carlo Simi, and a great soundtrack of Argentina Luis Enriquez Bacalov that has a great theme song highly successful in his day, repeated throughout the film in different variations and a successful and varied number of incidental issues, some Mexican-inspired, fully inserted into the action but obviously not up to the principal.


As for interpretations, Franco Nero I think is gorgeous as the gunman lethal short, because we know that in a country where "a word is too little and two" have to be very hard to survive. With him Loredana Nusciak woman of great beauty, perfectly fits the role of Mary the prostitute who will save Django and who, with his attitude, get it redeems and two great side developed a successful career with numerous appearances in this subgenre: Eduardo Fajardo as the chief American and José Bódalo as the head of the robbers, two people representing two sides of same coin. Both comply with their roles, but I sincerely believe that they could have gotten more out if they had developed more characters that are fairly stereotyped as racist the first Southern man with a behavior close to that of Ku Kus Klan, while the second is presented as a somewhat uneducated Mexican, womanizer and party animal. I think special mention must be made by Angel Alvarez, another of those great English film side, which is Nathaniel embodying perfect.


So much for that, to me, are the positive aspects of the film to explain the fame of it, but I think, having seen three times in the last year, which weakens it in the history ( suspiciously similar to "A Fistful of Dollars" ) and after about forty minutes of fast paced and a great work in the direction of Corbucci, the film drops drastically in the central part approximately from the unnecessary scene the fight in the mud of the prostitutes and the arrival of Mexican bandits, and will not return to pick up the portentous graveyard scene. In this part it seems that the film lurching and history, as well as losing credibility, is characterized by uncertainty. Even the work becomes more routine Corbucci.


Through a friend I can see the full version goes on sale in Argentina with a quality far superior to the edition sold pretty sloppy at the time by Filmax. Let's see if once taken such as English distributors.




In short, despite its imperfections, which in any case I think they are lower than their findings, a film in the evolution of the spaghetti western that summarizes how few stylistic and thematic characteristics of this subgenre. Therefore essential for any fan who wants to understand what was done in the western Europe.




SCORE:

HISTORY: 7
AMBIENTE: 10
ADDRESS: 8
ACTORS: 8
MUSIC: 8

MEDIA: 8.2

Additional Review

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32 CALIBRE KILLER

Calibre Killer 32
Italy
1967
Director: Alfonso Brescia

Cast: Peter Lee Lawrence, Hélène Chanel, Agnès Spaak, Alberto Dell'Acqua, Jenny Slade, Andrea Bosic, Mirko Ellis, Massimo Righi, John Bartha, John Taylor, Stephen Wild, Roberto Dell'Acqua, Nello Pazzafini, Stephen Wilde, Michael Bolt, Gregory West, Joseph Holls, Giovanni Ivan Scratuglia, Silvio Bagolini, Claudio Ruffini, Luigi Bonds, Guido Tonti
Screenplay: Palli Gicca
Photography: Fulvio Testi
Music: Robby Poitevin

Silver , who likes to be called Mr. Silver is a very peculiar gunman characterized by his dandyism and his good manners. After freeing some Mexicans of his oppressive employer, will be hired by the forces of a people in order to find out who is behind a series of robberies at the measures, as well as the murder of the passengers in the last assault.



the 1967 Italian production, ie at the height of spaghetti, directed by Alfonso Brescia under the pseudonym Al Bradley (like the director most of the participants in the film are American names to facilitate the distribution of western), an SUV that began in the peplum and continued with the spaghetti, a giallo, poliziescos, fantasy and science fiction, comedy, etc., and in this case try, for me, so failed to combine the typical detective film with the western.


for which it received from a script by Lorenzo Gica Palli (writer resume as a writer and director, in 1972 the character of Silver in the lower "Deadly Pursuit" , this time played by Gianni Garko ) that develops the story in a jumbled, progression-free and with a succession of scenes in which events occur for free (the protagonist from the first moment the identity of two of the assailants because yes, the deputy sheriff accused of conquistador hardly know ...), cheesy and ridiculous (like the scene where it's love between the protagonist and Sara, the daughter of slain book, which is solved with a couple of those Silver usual phrases supposedly deep but actually quite topical: "It's not an idiot, referring to the deputy Judel and Sara's fiance is in love and lovers behave like idiots" "Marry Judel, will make you happy . have the habit of losing battles, eventually you will see that not a bad attribute for a husband ". So if he says ...) or embarrassing (the sequence Sara bank's final beating Judel and saying that he has ruined everything is more like a vaudeville). In addition, there is a vacuous dialogue and quite grotesque, which does not help the horrible dubbing of the film, pretending to be solemn: "Unfortunately I can not shoot a woman. I like too. Then I thank you ".


The address, on the other hand, Alfonso Brescia has seemed routine, except in some isolated and the night scene of the confrontation between Silver and Spot, a fact shown in the typical and topical fights, stuck in the plot with a shoehorn and announce that somehow which would be comical spaghetti scrimmages, which are awkwardly shot. In addition the Director fails to provide the required tension and suspense to a film that much of your footage is like detective movies in this sense is very significant for me the scene of the failed game of cards.


On the positive side, it would indicate basically two


-The soundtrack composed by Robby Poitevin that has a good theme repeated throughout the film and that even the protagonist whistles, which identifies the subject with him. Interestingly, I do not know if it's only in the copy I've seen in a scene you hear the main theme composed by Ennio Morricone for "Guns do not discuss" .


-Silver's character himself, a fine gentleman and bon vivant, who rejects the colt 45 and shoot silver bullets (because of their name) away from the typical anti-heroes of the spaghetti and clear record of two mythical characters of this subgenus: Sabata and, above all, Sartana. It is also of a cowboy-adventurer who works for money but has its own code of honor (at a time says "You man of his word, like me" , later stating: "I play fair, I've always done" and end commenting "Just kill criminals, even if they are, give them a chance" ).


To give life to this character was chosen in me a casting error, Peter Lee Lawrence, actor Alfonso Brescia to collaborate on several occasions, which is not all bad but I think that age is not doing its part, also because I think his physical features did not fit tough-guy roles and experienced. The rest of the cast I recognized Alberto Dell'Acqua, under the pseudonym Kitosch Cole, another actor with features and quite limited childish plays Spot, a quite absurd that aims to learn the craft of Silver. Also appear Mirko Ellis, interpret that before turning to spaghetti had appeared in many peplums, as the sheriff of the population; Andrea Bosic, a certain resemblance to Robert Shaw, as the banker who hires Silver, Helene Chanell under the name Sherrill Morgan, who plays the worldly Dolly the saloon owner, Nello Pazzaffini as Red Carter, the role of Fitch, a character that looks like an excuse to shoot a long sequence of fight in the saloon and Massimo Righi (Max Dean) in Judel paper, the giddy deputy sheriff from the beginning and not knowing why he rowed to Silver (the characteristics of this character would be taken up by Gica Palli in that "Persecution deadly ). All of them are limited to comply clear that their characters are not for more.


Ultimately, for me, a mediocre spaghetti made with a very limited budget, a fact evident in the scarcity of locations (a mine, a village and a cottage), which lacks even a Good shooting and I felt a little heavy.

SCORE:

HISTORY: 3
AMBIENTE: 3
ADDRESS: 4
ACTORS: 5
MUSIC: 6

MEDIA: 4.2