Tag: spaghetti western

Run Man Run

Run Man Run a.k.a. Corri uomo corri is a 1968 movie directed by Sergio Sollima.

WHAT HAPPENS?

Several groups of distinct personalities are pursuing stolen Revolutionary gold.

ONE LINE REVIEW

Run Man Run is a fun, adventurous Euro Western that showcases Tomas Milian’s physical and comic skills.

THE ACTORS

Milian revisits Cuchillo, his carefree, knife-throwing thief who originated in The Big Gundown. Too good-hearted to be considered a real anti-hero, Milian’s character is perfectly described by Chelo Alonso’s eternally frustrated Dolores: “Just look what I have to do to marry this tramp.” Milian plays up Cuchillo’s comic nature mainly through his expressive, rubbery face. However, he maintains the dangerous edge of a bandit with his precise and deadly knife attacks.

Alonso is terrific as Dolores, whose mission to marry Cuchillo is heightened when she learns of his connection to the stolen treasure. She is hilariously animated as his long-suffering love. Milian’s Cuchillo can only offer her a bounty of excuses: “If I leave you, it’s only to love you more when I come back.” Linda Veras is equally impressive as the domineering, self-righteous Penny – a Salvation Army “soldier” who schemes with her father to obtain the lost treasure.

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Death Rides a Horse

Death Rides a Horse is a 1967 movie directed by Guilio Petroni.

Death Rides a Horse tells the story of a young gunfighter and aging outlaw who form a loose alliance to track down the same bandits. Lee Van Cleef essentially plays his standard Western role – he’s a grizzled, cynical veteran of combat seeking revenge. John Phillip Law is the young sharpshooter out to avenge the death of his family by the same bandits Van Cleef is pursuing.

The movie presents a familiar EuroWestern formula, but it’s done well. Van Cleef commands a presence while Law is a likable and proficient hero. The cast of villains are both authentic and possess a stylistic sense of evil. Petroni creates a harsh, wind-swept environment but also adds flair with a series of technicolor flashbacks, some cool panning shots and the traditional Euro Western extreme close-ups.

THE BEST – Morricone

Ennio Morricone provides some brilliant, moody music throughout the movie – much of it borrowed by Quentin Tarantino for Kill Bill. Unlike other Euro Westerns, the music isn’t a hook and/or doesn’t create an atmosphere that the movie can’t match. It’s a beautiful blend.

THE BEST Part 2 – The Little Details

Petroni gives his characters some defining traits, as the lead character recognizes his family’s attackers. The four Aces tattoo, skull chain and jagged scars distinguish the movie’s antagonists from mere henchmen. Also, the story evolves to feature two archetypal villains – highlighted by Luigi Pistilli’s charismatic Walcott. There are fun touches found throughout – including a duel commenced by three piano key notes, a sweet trap door and plenty of fun one-liners – not to mention terrific action.

THE WORST – Sentimental Van Cleef

There are some awkward moments between Van Cleef and Law’s characters as the aging outlaw shows paternalistic empathy towards the young gunslinger. He references Law being the son he never had – possibly in an attempt to rationalize his own life. It’s an intriguing idea but it feels misplaced.

FOX FORCE FIVE RATING – 4/5

Death Rides a Horse is a moody, brutal but stylish Euro Western. Van Cleef turns in his usual solid performance and the cast of villains keeps things interesting.

Requiescant

Requiescant is a 1967 movie directed by Carlo Lizzani.

Requiescant tells the story of a preacher’s adopted son who attempts to save his sister from a corrupt group of ex-Confederates. Lou Castel stars in the title role and while his Colombian roots don’t exactly match his Mexican character, he exhibits a quiet intensity. Mark Damon’s George Bellow Ferguson steals the show. His aristocratic Confederate character is both genteel and vicious – but also reveals a simmering attraction to Carlo Palmucci’s Dean Light. It’s an intriguing performance – especially cast against Castel’s Bible-toting sharpshooter.

THE BEST – Overhead Shots

There’s nothing extraordinary about Lizzani’s direction – in most respects, Requiescant is a straightforward Euro-Western. However, during the movie’s climatic final scenes, Lizzani lifts his camera high above to show the wreckage of a saloon battle. It’s a simple and cheap technique, but extraordinarily effective.

THE WORST – Navajo Joe Levels of Casting

Castel is an interesting and occasionally dynamic actor but it’s hard to overlook his complexion – especially when cast against the Mexican peasants he represents. This contrast is even more striking when you remember Castel’s role in A Bullet for the General.

FOX FORCE FIVE RATING – 3.75/5

You have to suspend reality for much of the movie, but Requiescant is a solid Euro-Western that features some unique touches. It’s definitely worth a watch.

Cut-Throats Nine

Cut-Throats Nine is a 1972 movie directed by Joaquin Luis Romero Marchent.

Cut-Throats Nine tells the story of a band of convicts chained together en route to a military fort. After being attacked by bandits, a sergeant and his daughter must survive the outlaws. The cruelty and greed of the men is revealed in vicious detail by Marchent, who crafts one of the most visceral and violent European Westerns ever made. The characters are virtually nondescript but their bloody actions are extraordinary.

THE BEST – The Hateful Eight Meets a Slasher Movie

Cut-Throats Nine boasts the feel of a snowy Corbucci Western but then turns distinctly macabre. In a sense, the savage acts committed are driven by the convicts’ desperation and desire for retribution. However, we’re never given time to fully examine the inner workings of the characters – which shifts the movie from Western to a gore-fest….albeit, one that’s remarkable.

THE WORST – The Daughter

Of course, you know what happens when a bunch of convicts get their hands on a girl – especially in a European Western. At the least, this act is later avenged. However, Emma Cohen’s Sarah isn’t given much to work with as the movie progresses.

FOX FORCE FIVE RATING – 4/5

Cut-Throats Nine is a surprisingly brutal and distinctly original European Western. A must watch.

The Grand Duel

The Grand Duel is a 1972 movie directed by Giancarlo Santi.

WHAT HAPPENS?

A former Marshal defends a young gunfighter against a corrupt family. The Marshal comes to terms with his past before engaging in a final confrontation.

ONE LINE REVIEW

The Grand Duel is a stylistic, inventive European Western.

THE ACTORS

Lee Van Cleef plays Clayton, the Marshall seeking justice. It’s a typical Van Cleef Western role, as the veteran actor delivers witty, grim lines and maintains a grizzled, sage presence. At times, it appears Van Cleef is sleepwalking through his role – his Marshal sums up the role: “I don’t talk unless I feel like it. That’s one of my rules.” Yet, he delivers in the movie’s finale – a superb dramatic shootout.

Alberto Dentice is Phillip Vermeer, the young gunfighter shepherded by Clayton. It’s a stock role and a largely forgettable performance. The movie’s true standout is Klaus Grunberg’s Adam, a fey, dangerous murderer who leaps from the screen. His entry helps revitalize the movie’s lumbering, repetitive story.

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Keoma

Keoma is a 1976 movie directed by Enzo G. Castellari.

Keoma tells the story of a gunfighter who returns to his plague-ravaged hometown to battle his half-brothers and discover a meaning for his life. Franco Nero plays the title character – a half-breed former soldier attempting to find meaning in his nomadic existence.

In some respects, Keoma is a post-modern European Western – which is an oxymoron of sorts given the sub-genre’s genesis. Or at the least, Keoma represents the sunset on a wildly inventive, creatively pure era of movie making.

Either way, we get Franco Nero doing his best Jesus-esque, half-breed post-modern Hippie impersonation.

Nero plays a character very familiar to Western fans – the half-breed fighting for the respect of his family. Yet, the role feels unique given the actor’s background – particularly as Sergio Corbucci’s suave, selfish mercenary. In Keoma, Nero is an earthy, introspective fighter for the oppressed.

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A Bullet for the General

A Bullet for the General is a 1967 movie directed by Damiano Damiani.

A Bullet for the General tells the story of the bandit Chucho, who tries to secure weapons for a rebel General. He is joined in his pursuit by the enigmatic Bill Tate, a Gringo whose motives are vague.

Readers of this site know my criteria for an enjoyable European Western: I’m looking for style, great music, fun bad guys and some violence. Throw in some weirdness and I’m hooked. A Bullet for the General covers all these bases and while it’s not outright strange, the movie boasts a bold, defined style.

The two leads create a fun dichotomy. Gian Maria Volonte and Lou Castel are perfect strangers – actors who can only come co-exist in a Spaghetti Western universe.

Volonte’s Chucho initially appears cartoonish. He’s the brash, sometimes oafish Mexican bandit who dominates the screen. Yet, a softness and depth emerges as the movie unfolds. The hardened bandit transforms into a man of the people, then undergoes a reckoning as returns to his previous life.

Perhaps Volonte’s graying mane and sad face contribute to the effect, but he easily absorbs the audience’s empathy. A few scenes after viciously killing a fellow bandit, he wrestles with his conscience. He implores the cynical Tate to look into the eyes of a poor farmer: “He’s a man like me and you – do you understand?”

Tate’s reply: “No.”

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His Name Was King

His Name Was King is a 1971 movie directed by Giancarlo Romitelli.

His Name Was King tells the story of King, a bounty hunter who seeks revenge on the brutal gang who murdered his brother.

Here’s a quick description of this movie: it may contain the greatest Spaghetti Western theme song ever, the action scenes are well done and the Benson Brothers are classic villains.

What more do you need?

The Luis Bacalov-penned theme song is spectacular and represents everything special about the genre. It’s a song that creates a soulful, legendary aura for its main character – basically before we even meet him. However, in the true spirit of the genre, the character can’t match the soaring expectations of the song.

Veteran actor Richard Harrison plays King – aka John Marley – who is an expert tracker and bounty hunter. He looks the part and appears skilled with weapons and riding horses – prerequisites for any Western lead. He boasts a Marlboro Man, early Tom Selleck vibe but ultimately proves a bit wooden.

Harrison comes to life during the movie’s climatic final shootout. His character battered, he finally displays some much lacking emotion. Yet, he’s easily overshadowed by the dynamic Klaus Kinski who sleepwalks through his limited scenes.

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The Cruel Ones

The Cruel Ones is a 1967 Italian Western directed by Sergio Corbucci.

The Cruel Ones, aka I crudeli, aka The Hellbenders tells the story of Jonas, a Confederate officer who is attempting to raise an army and continue the Civil War. Along with his sons, he steals Union money and hides it in a coffin – with the rouse that he is escorting his “daughter’s” husband’s remains.

Within the filmography of Sergio Corbucci, The Cruel Ones holds a unique position. It’s sandwiched between Django, Navajo Joe and The Great Silence – three of Corbucci’s most recognized works. It also predates his later “revolutionary period” titles The Mercenary and Companeros.

In a fitting nod to such an artistically rich sub-genre, The Cruel Ones is unlike any of Corbucci’s other Westerns. There is no mysterious drifter or overt political message to be found. It’s reliance on family and Civil War themes are more representative of American Westerns. Yet, The Cruel Ones features Corbucci’s trademark style, sounds and splashy violence.

In short, this is an impressive offering from a vastly underrated director.

The story’s concept – transporting stolen money in a coffin – is the perfect vehicle for a corrupt family to tear themselves apart. Greed and power emerge as potent forces. The family patriarch, Jonas – savagely played by Joseph Cotten – has a grand vision of restoring the defeated Confederate Army. He commands his sons in a vicious attack against Union troops, stealing millions of dollars.

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Four of the Apocalypse

Four of the Apocalypse is a 1975 Western directed by Lucio Fulci.

Four of the Apocalypse tells the story of four petty criminals who find themselves on the run in the Utah desert. They are pursued by a savage outlaw before ultimately gaining retribution.

Here’s my quick review: this movie is a glorious, bloody mess.

Not much that happens in Four of the Apocalypse makes sense. The lead actor, Fabio Testi, is completely miscast in the desert. There is little reason for a pregnant prostitute, a drunk and a man obsessed with spirits to join together – nor is it clear why the crazed Chaco is following them.

Yet, the brilliance of European Westerns is that they are sloppy, weird, violent and take ridiculous chances. Fulci delivers a post-modern Western bathed in both blood and 70’s soft rock.

There’s a melodramatic quality to Four of the Apocalypse that’s more fitting of a TV mini-series. The washed out closeups and mawkish dialogue between Testi’s Stubby and Lynne Frederick’s Bunny is both sweet and horrendous. Testi is fine as a leading man – although he’s awkward in an action role. However, Frederick is given an atrocious role and plays down to its limitations.

The rest of the cast includes veteran character actor Michael J. Pollard as the drunken Clem and Harry Baird as the kind, unstable Bud. Pollard is solid in what is a one-note role. He’s built to be an accessory in Westerns. Baird is given the most unique character – he’s obsessed with communicating with the dead. However, he plays Bud with the simplicity of a developmentally stunted child.

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