“When you have to shoot, shoot. Don’t talk.”

So this is the big one of the Dollars Trilogy. The Good, The Bad, And The Ugly AKA Il buono, il brutto, il cattivo from 1966. The one that a lot of people point to as “the best Western ever.” I don’t exactly agree with that.

Plot

During the later stages of the American Civil War, an uneasy duo of bounty hunter and outlaw hustle law enforcement, until the bounty hunter decides to finally sell out the outlaw. The outlaw wants revenge, and his pursuit of the bounty hunter sets them both on a collision course with buried treasure and a sinister Union officer. 

The movie is much longer than that, though.

Characters

“Blondie”: Clint Eastwood (as usual) continuing to be mysterious and inscrutable. He’s still kind of a dick, too, teaming up with Tuco to scam and split bounty rewards. Curiously, he doesn’t start out the story with his trademark poncho. He gets that and his other accoutrements over the course of the movie. That, and his increasing number of occasional kind acts (he is “The Good” after all), hints at character development, which is not something our nameless protagonist has had much of over the trilogy. It’s also never outright stated, but the Civil War setting and aforementioned poncho acquiring implies this is a prequel of sorts to the first two movies. Does it matter from a narrative perspective? Not really.

Tuco Benedicto Pacifico Juan Maria Ramirez (known as “The Rat”): Eli Wallach is our viewpoint character, and if Blondie’s kind of a dick, Tuco’s a complete bastard. Robbery, murder, torture, fraud, scamming everyone he meets…Tuco is a survivalist well-suited to the harsh landscape and looks out only for himself. It’s a credit to Wallach’s hammy yet intense performance that he makes such a repulsive character so entertaining to watch. Yet when he gets his occasional comeuppances, its actually pretty deserved, and even in the prison camp interrogation, it’s hard to feel sympathy for Tuco, since he’s been such a backstabbing bastard up to that point. But there are moments where you almost do feel sympathy for him, especially in the monastery where he meets his brother and the viewer gets a glimpse at what makes him tick. He may not be beyond redemption, but he is certainly “The Ugly” and one of the great screen rogues.

Sentenza “Angel Eyes”: Lee Van Cleef returns, this time as the villain of the piece. Angel Eyes is introduced as a sinister assassin who honors his contracts and can’t be negotiated with by his victims, but doesn’t hesitate to kill his employer for another contract. Utterly ruthless, merciless, and pragmatic, he‘s also less disturbing than El Indio. Van Cleef does the role well, but it lacks the nuance and development that Colonel Mortimer had in the previous film. Even his motivation for wanting the gold is vague. Greed, I suppose, but the character is “The Bad” and lacks the layers that make him more than simply cold-blooded.

Alcoholic Union Captain: Aldo Giuffrè plays a side character so minor that he doesn’t even register a name in the credits, yet he is a scene stealer. An officer who knows the back-and-forth fight for an inconsequential bridge is accomplishing nothing but the slaughter of his own men, he copes with nihilistic alcoholism. Until Blondie and Tuco show up and give him an explosive sendoff. 

The Sights

Director Sergio Leone displays a technical confidence in his filmmaking here. Gone are the day-for-night scenes from Fistful. Easily the most polished of the three in editing, composition, and cinematography. Juxtaposition of desolate long shots and extreme close-ups of weathered, craggy faces are also done very well. It’s also the biggest in sense of scale, with large crowds of extras in the towns and even a Civil War bridge skirmish that ends in a sizable explosion. For being about such ugly subject matter, this movie sure is pretty.

The Story

Story by: Luciano Vincenzoni & Sergio Leone. Screenplay: Agenore Incrocci, Furio Scarpelli, Luciano Vincenzoni, & Sergio Leone. English version by Mickey Knox. That’s a fair number of names, and the script seems to be the weakest element. Not for the core plot, that’s tightly arranged, and the climactic scene is one of the most amazing showdowns in movie history. Seriously, it is THAT good.

I didn’t warm to the episodic nature of the film. This is a very, very long movie that wanders around in some places.  These scenes aren’t bad by any means, but they lack the narrative tightness of the previous two movies. Things are a little more stretched out. There’s less sense of urgency or of the stakes being as high or immediate to the characters. The bridge battle has nothing to do with the rest of the movie other than “Blondie and Tuco stumble upon it” like it was some random encounter. It’s a well-done scene and hey, I’m not anti-explosions, but it could conceivably be cut and the film wouldn’t lose much. Tuco & Blondie don’t really develop further as a result of it. It just feels like a heavy-handed way of getting across the message that war is full of pointless loss of life over arbitrarily chosen objectives. 

A curious aspect of the film is its sympathetic portrayal of the Confederacy. Obviously not for the slavery aspect of the South, but the only Confederates we see in the movie tend to be maltreated prisoners of war: the infantry, the cannon-fodder, the schlubs. The Union has a more even spread of sympathetic and unsympathetic characters (about two and two, regarding speaking roles). Yet this is a movie released in 1966, when racial tensions ran high, and if this were an American production, it is highly unlikely that the Confederacy would have received such a portrayal. Not to imply that there weren’t sympathetic people among the Confederacy. Both sides in a war have good and bad people caught up in them, and a large number of rebel soldiers in the Civil War were not themselves slave owners…

And I’m getting off topic. Suffice it to say, historical reality is a complicated thing, and it is curious that the movie is so well regarded in a country where the shorthand opinion of the Civil War is “Confederacy = Bad.”

The Sounds

Original Music by Ennio Morricone. He really knocked it out of the park on this one. The incredible Main Theme, the Ecstasy of Gold, etc. Like the rest of the trilogy, this is the glue that really holds the movie together and elevates it to another level of quality. It can’t be stressed enough.

The Verdict

The Good, The Bad, And The Ugly is a good movie, no doubt. Best Western? Nah, that’s a hotel chain. Best Spaghetti Western? Maybe. It’s technical skill is superlative and the climax is amazing. Yet I can’t shake the feeling that the overall package is somehow less than the sum of its excellent parts. For me, the best of the trilogy is For A Few Dollars More, which features more consistently good character work, a tighter plot, and fewer digressions about social commentary that lack subtlety. 

Watching this movie is definitely worthwhile, but seeing only this one does a disservice to the rest of the trilogy, which is very, very good overall.


*Note: The trailer lies and switches the Bad with the Ugly.

“When the chimes end, pick up your gun.”

A year after the success of A Fistful of Dollars, Sergio Leone and Clint Eastwood re-teamed in 1965 to make For a Few Dollars More (AKA Per qualche dollaro in più), which has the benefit of not being a remake of Yojimbo.


The Plot
Two bounty hunters, Colonel Douglas Mortimer (Lee Van Cleef) and a man referred to as “Monco” on account of him using his left hand for everything except shooting (Clint Eastwood) ply their trade across the west when a vicious bandit, El Indio (Gian Maria Volonté) and his gang break out of prison.  El Indio’s got a hefty bounty out for his gang, and the two bounty hunters cross paths and eventually decide to team up take down the gang as it plans an ambitious bank robbery.

Volonté returns from the last movie as a new bad guy, and manages to be even more psychotic and disturbing than Rojo was. To give you an idea of how villainous El Indio is, he tracks down the man responsible for putting him in prison, tortures him, then has his wife and 18 month old baby shot offscreen, then, satisfied that the man hates him enough, he flips open a musical watch. When the music stops, its time to shoot. Naturally Indio wins. Beyond mere sadism, Volonté gives the character a manic-depressive personality that he switches between with alarming suddenness. The impression it gives is of a man who gets any kind of enjoyment out of life by pushing people to the point of violence against him, then giving them a chance at revenge with the odds skewed in his favor, and then finishing them off. Which is really messed up. Oh, and one of his henchmen, Juan the Hunchback, is played by Klaus Kinski.

 Colonel Mortimer has more complicated reasons for going after El Indio. Revenge reasons. Without spoiling anything, he’s got some pretty damn good reasons for hating El Indio. More relatable than Monco, Mortimer is essentially the real protagonist, since he’s the one you can relate to more. Van Cleef really nails the old soldier archetype as he plays a wily veteran next to Monco’s more youthful bravado, but Mortimer’s also a character with a lot of pain locked away. That sadness and hatred really come to the surface in the final shootout, which is all done and seen in Van Cleef’s eyes. That’s some amazing acting right there.

The Visuals
Sergio Leone had a real budget this time! No more obvious day-for-night scenes and the whole movie has a more polished feel to it. Much like the previous film, it sets a fantastic mood with harsh landscapes and supporting characters with equally harsh features.  Leone even adds some artsy flourishes, such as ending a scene on El Indio laughing madly and cutting to a wanted poster of him with that same expression. Little things like that.

The Story
Screenplay by Luciano Vincenzoni & Sergio Leone. Dialogue by Luciano Vincenzoni (and Uncredited Fernando Di Leo & Sergio Donati). On a superficial level, its rather similar to A Fistful, since it involves Clint hunting bad guys in the name of a lot of money. Eastwood’s poncho wearing drifter is much the same here. Mysterious, deadpan, and essentially motivated by greed. Then again, it works quite well, so why mess with it?

Volonté returns as a new bad guy, and manages to be even more psychotic and disturbing than Rojo was. To give you an idea of how villainous El Indio is, he tracks down the man responsible for putting him in prison, tortures him, then has his wife and 18 month old baby shot offscreen, then, satisfied that the man hates him enough, he flips open a musical watch. When the music stops, its time to shoot. Naturally Indio wins. Beyond mere sadism, Volonté gives the character a manic-depressive personality that he switches between with alarming suddenness. The impression it gives is of a man who gets any kind of enjoyment out of life by pushing people to the point of violence against him, then giving them a chance at revenge with the odds skewed in his favor, and then finishing them off. Which is really messed up. Oh, and one of his henchmen, Juan the Hunchback, is played by Klaus Kinski.

 Colonel Mortimer has more complicated reasons for going after El Indio. Revenge reasons. Without spoiling anything, he’s got some pretty damn good reasons for hating El Indio. More relatable than Monco, Mortimer is essentially the real protagonist, since he’s the one you can relate to more. Van Cleef really nails the old soldier archetype as he plays a wily veteran next to Monco’s more youthful bravado, but Mortimer’s also a character with a lot of pain locked away. That sadness and hatred really come to the surface in the final shootout, which is all done and seen in Van Cleef’s eyes. That’s some amazing acting right there, and it’s the culmination of an entire movie’s worth of build up.

The Sounds
Ennio Morricone’s score continues to be an essential cog in the Leone Western. Here, it ups the ante a bit by integrating the musical watch theme brilliantly into the movie. As an omen of impending death, the watch begins as a haunting, melancholy, almost sinister sound. By the final showdown, it transforms into a harbinger of vengeance. Hard to explain in words, but damn. It works so damn well.

The Verdict
For A Few Dollars More is an amazing movie. A tight script, great acting, slick visuals and an incredible score knock it out of the park. A damn fine Spaghetti Western, and a damn fine Western, period.

“When a man’s got money in his pocket he begins to appreciate peace.”

That was a hiatus that went on longer than expected. Hard work is hard.

I've covered a few Spaghetti Westerns here at RMWC before, which tend to be fun and wacky, and often blatant imitations of Sergio Leone's seminal Man With No Name trilogy. Leone obviously didn't invent the Western, nor was he the first man to film one in Europe with mostly European actors, but he sure as hell put his stamp on it.

In 1964 A Fistful of Dollars (AKA Per un pugno di dollari), an “unofficial remake” (that led to a lawsuit by Japanese Studio Toho) of Akira Kurosawa’s 1961 film Yojimbo (which was itself inspired partly by the Westerns of John Ford). And in turn, Yojimbo/Fistful was remade as Last Man Standing. 

Legal stuff is complicated.

Story

Clint Eastwood shoots dudes. 

Ok, fine, there’s more to it. A mysterious drifter rides into the little town of San Miguel and finds two gangs fighting over who will get to run the town. Sensing there’s money to be made, he starts playing off both sides, hiring himself out as a gunfighter to both groups at his convenience. 

Characters

“Joe”: Clint Eastwood’s breakout role as the flint-eyed stoic anti-hero of the movie. Joe’s not his name, its just what some of the locals take to calling him. While certainly not a bad guy (he doesn't kill any innocents) he’s still a greedy, selfish, callous man. Exactly the kind of man to thrive in a world as harsh as the one Leone builds for him. There certainly isn't a lot of variety to his expressions in this movie, but Eastwood clearly displays the steely nerve that cemented his future roles as relentless badasses. Which isn't to say he’s completely mirthless. The scene where he demands an apology from four thugs for insulting his mule is some fun black comedy, but “Joe’s” sense of humor is a deadpan, sardonic sort that only surfaces rarely. He also has an awesome poncho and a fondness for stubby cigars. 

Don Miguel Benito Rojo: Antonio Prieto is the nominal leader of the Rojo gang. The Rojos sell liquor but want to move in on the rest of the shady dealings in town. He’s not a handsome man, but is arguably the friendliest Rojo to “Joe.”

Esteban Rojo: Sieghardt Rupp plays the youngest and most headstrong Rojo. Brash and kind of dumb, Esteban dresses fancier than his brothers, likes pistols, and has a screechy laugh that just makes you want “Joe” to shoot him.

Ramon Rojo: Gian Maria Volonté is the real brains behind the Rojo operation. Brutal and controlling, he’s incredibly clever and a monster to women. Exactly the kind of villain you want to see our hero destroy.

Chico: Mario Brega plays the main Rojo goon. Not much to say about him other than he’s trusted by the gang, is a chubby guy, and shows up on screen a fair amount.

Marisol: Marianne Koch plays “Ramon’s woman” and boy is she unhappy about it. See, Ramon keeps her under guard in a shack outside town and her husband Julio and son Jesus have moved into the shack thirty feet away. At first she’s little more than a pawn for “Joe,” but as the movie progresses (and so does “Joe’s” war on the gangs, he shows her family some genuine kindness. Oh, and her son is dubbed with a really annoying, whiny voice. Yes, I know the little kid’s sad and abused by the bad guys, but he still set my teeth on edge whenever he spoke.

John Baxter: Wolfgang Lukschy is the “sheriff” of town and patriarch of the Baxter family. His gang run and sell guns illegally. Slightly less ruthless than the Rojos, they’re also less interesting, clever, or menacing.

Silvanito the barkeep: Jose Calvo plays one of the few characters who become acquaintances/helpers for “Joe.” Silvanito also provides exposition as needed, in fine Movie bartender tradition. 

The Visuals

Directed by Sergio Leone, the film looks really good in daylight and interior shots. The heavy use of day-for-night though, betrays the film’s lower budget origins. That bit of cost-cutting doesn’t detract from the quality of the rest of the movie. Action sequences are nicely shot (and with great build-up). Leone also uses extreme close ups on faces to good effect as well. Most of these faces are as weathered as the landscape, and Leone really plays up the harshness of the West. Case in point: “Joe” gets the crap beaten out of him something fierce a third of the way through the movie, and it is very effective in its brutality. 

Oh, and this movie totally stole Marty McFly’s gunfight strategy against Mad Dog Tannen in Back to the Future Part III.

The Story

Story by A. Bonzzoni, Víctor Andrés Catena, & Sergio Leone. Screenplay by Víctor Andrés Catena, Jaime Comas, & Sergio Leone. Dialogue by Mark Lowell (and Uncredited: Fernando Di Leo, Duccio Tessari, & Tonino Valerii). Character motivation is quite simple, and most of the cast are painted in broad strokes with a few character traits to define them. The plot is the real focus of the story, with intrigue, betrayal, and manipulation taking center stage (and that’s exactly what “Joe’s” doing). The twists and turns of the story, along with how Joe reacts to them in his game of cat-and-mouse with the gangs is great fun to see play out. 

The Sounds

I've read arguments that Ennio Morricone single-handedly elevated the Man With No Name trilogy to greatness by the awesomeness of his score alone, and there is some credence to that. The variety of moods that Morricone can set with little more than a piano, guitar and a whistle is inhuman. 

The Verdict

A Fistful of Dollars is a damn fine movie and an interesting alternative take on the Western genre. Moody and amoral, its quite a difference from the more forthright heroics of the American-grown Westerns that John Wayne became a fixture of. I hesitate to say Leone made a superior version of the Western (I have good things to say about Stagecoach as well, for instance), but he definitely helped make Spaghetti Westerns a legitimate, and stylish sub-genre. The direction, Eastwood’s intensity, and Morricone's amazing music make this well worth watching. 

“How many preachers you know carry a six-gun?”

Find A Place To Die AKA Joe…cercati un posto per moriere! is a rather somber Spaghetti Western from 1968. It opens with a man and woman defending a mine from bandits, but the man gets caught in an explosion and trapped under some rubble. He gives his wife a bag of gold and tells her to get help and/or start a new life without him. Her name’s Lisa Martin (Pascale Petit) and she at least has the decency to leave her dying husband a Winchester and some whiskey.

After a travel montage (the movie has several) she arrives at a town that translates to “Eagle’s Nest.” It’s a crummy town full of scum and villainy, and a lady of negotiable affection named Juanita is singing the grim theme song. Lisa enters and finds a drunk American wearing gray named Joe Collins (Jeffrey Hunter, who played Captain Pike on the original Star Trek pilot), a disgraced cavalry officer. She eventually convinces him to help her rescue her husband from the gang of Chato (Mario Dardanelli). After a bar brawl, Joe agrees, but needs help fighting Chato’s men. They assemble a motley gang of shady types that include: Gomez (Gianni Pallavicino as Gordon York) a crook who buys guns from Joe and sells them to Chato; Paco (Reza Fazeli), Juanita’s pistol favoring lover/pimp; Fernando (Nello Pazzafini), a big dumb lug of a goon with a sidekick (that he leaves behind) and along the way they pick up the shady Reverend Riley (Adolfo Lastretti) who’s obviously some kind of lecherous con man. Actually, they’re all pretty lecherous and greedy men interested in Lisa’s body and the 2 thousand in gold she’s promised. The band rides out to the mine and toward a violent showdown over the gold with Chato and lots of betrayals along the way.


Visuals/Effects
Giuliano Carnimeo (as A. Ascot) also directed the (arguably better) Sartana films. Still, he’s got a good eye for scenery and mood here. The mood here being “Bleak.” Visually this is a rather stark film right from the beginning, where the camera focuses in on an iguana, which…I don’t think is actually native to the American Southwest. Ah whatever, these movies were all made in Spain anyway. The brawls and shootouts are all solidly done as well. If there’s anything the movie does wrong, is pad out a lot of the plot and action with long montages of people riding places without particular impetus.

Writing
Story by Lamberto Benvenuti and Hugo Fregonese. Screenplay by Lamberto Benvenuti, Giuliano Carnimeo and Hugo Fregonese. I will hand it to this movie, it certainly commits to grimdarkness. The only character who isn’t sullied or bad in some way is Lisa. Chato is a murderous bandit who displays corpses of people he’s killed. Fernando is a brute who doesn’t seem to care about the meaning of the phrase “bad touch.” Gomez is a sneaky, backstabbing bastard. Riley’s skilled in medicine, clearly a false preacher, and apparently very, very good at torturing information out of people. Paco’s loyal to his woman, but he’s still a murderous pimp. Even Joe is tainted because he was court-martialed, is wanted in Texas for killing a man, and in Mexico selling a cache of stolen military guns. From his clothes, he also looks like he was on the losing side of the Civil War too. Like I said, grimdark.

Sound
Original music by Gianni Ferrio, the music’s actually quite good. Lots of haunting acoustic guitar and the “theme song” sung in the bar continues the dark mood since its all about finding a place for a gunfighter to die. Thematically consistent.

Conclusion
There’s not a whole lot to Find A Place To Die. It’s a competent movie that is coherently told and committed to telling a dark tale of frontier greed and betrayal with a few rays of hope scattered throughout. It is grim and violent, and rather mirthless, and slightly dragged down by frequent sequences of people riding. Ultimately a decent movie with a few interesting characters (Joe, Paco, and Riley come to mind). Certainly not essential viewing, but if you’ve got a boxed set like I do, it’s a pleasant little surprise.

“I am your pallbearer.”

Well, the previous Sartana movie got me hungry for more, so I tracked down the first in the series, If You Meet Sartana, Pray For Your Death AKA Se incontri Sartana prega per la tua morte from 1968. Starring the original Sartana, Gianni Garko.

Story
It all starts with a stagecoach getting ambushed by a gang of bandits. A mysterious, impeccably dressed drifter deals with most of them and examines the wreckage before traveling to the small town of Goldspring where the plot begins in earnest and swiftly spirals into a game who’s going to double cross whom. There’s a Mexican general who entrusts his money to two crooked bankers, who are in league with a gang that’s raiding stage coaches. It all comes down to a large stack of gold and who’s going to walk away with it.

Characters
Sartana: Gianni/“Johnny” Garko plays our protagonist; a soft-spoken, well-dressed anti-hero with a dark sense of humor. He’s well armed, great at poker, and constantly prepared for any situation. My earlier assessment of him as a Western Batman stands. The four-barreled palm gun also gets a lot of spotlight, and even that thing’s got some surprising tricks up its sleeve. There’s also a hint that Sartana is more than a mere mortal. A smooth, cool badass in every way.

Dusty: Franco Pesce plays the short, elderly undertaker of the town. He latches onto Sartana as soon as the gunslinger rides into town. Dusty was once an artist in Boston but its hinted he threw that away in favor of booze. Provides comic relief, but the voice dubbed for him is gratingly annoying.

General Tampico: Fernando Sancho plays the Mexican general with a comically overlong name (shorted to General Tampico). He’s somewhat comical, but little more than a thug with a bunch of goons that sure don’t act like soldiers. He invests his gold with the bank and gets understandably upset when it vanishes.

Lasky: William Berger hams it up royally as the real villain of the movie. Lasky is a great counterpoint to Sartana since he’s an emotional psychopath who thinks on the fly. Berger’s great in this, whether he’s swaggering into town, smugly cheating at cards, mowing down his own gang with a Gatling gun, or freaking out when Sartana plays a musical watch from some hiding place just to mess with him. Carrying forward the Batman analogy, there’s a fair amount of the modern Joker in his performance as an untamed psychopath. A great villain.

Morgan: Hey, its Klaus Kinsky! He’s Lasky’s right hand man and fond of knife throwing and wears bells on his spurs, which in fact DO go jingle-jangle-jingle. Not a major character, but a fun one.

Jeff Stewal and Al Alman: Sydney Chaplin and Gianni Rizzo are the pair of bankers who are scheming to get away with the gold through an insurance fraud scheme. Alman’s a fat fellow with a fondness for candy and Stewal is juggling two affairs: one with the widow of the mayor, and the other with Alman’s wife Evelyn (Heidi Fischer). Pillars of the community, they are.

Visuals/Effects
Directed by Gianfranco Parolini (as “Frank Kramer”) and with Cinematography by Sandro Mancori, the movie has some nice shots here and there, but is otherwise fairly standard as a Spaghetti Western, with a few spots that are rough around the edges. The pacing is nice and we never forget that its all about the gold. The action sequences are a definite positive for the film, since they show off Sartana’s resourcefulness and cleverness. Probably the most amusing is where Sartana has set up a trap in his hotel room where he can snare anyone coming in through the window.

Writing
Adolfo Cagnacci, Luigi De Santis, and Fabio Piccioni on story and Werner Hauff, Renato Izzo, and Gianfranco Parolini as writers. That’s a lot of people working on one script, but things seem to work out okay. The plot is horribly convoluted, but that’s not the real draw here. Solid character work, reprehensible villains and Sartana being awesome are the draw.

Sound
The score by Piero Picconi is serviceable but sparse. The musical watch gets a lot of screen time and those scenes work, but that kind of thing gets done better in For A Few Dollars More (I’ll get to that review when I can). The music’s not bad and has a few high points that dips into that whole “swingin’ sixties” vibe, but not one of the film’s strong points.

Conclusion
If You Meet Sartana Pray For Your Death is a solid foundation for a “franchise” of nearly 20 movies with the gunslinger’s name attached. The action’s good, the plot is confusing (par for the course with a lot of Spaghetti Westerns, I‘m noticing), and the characters are well realized, even if they are caricatures. What it may lack in budget it more than makes up for in attitude and charm. Sartana is, frankly, an Awesome character and thoroughly entertaining.


Boy that trailer sure asks a lot of questions. Don't expect most of them to get answered.

“One half isn’t any good without the other.”

In looking for info on the next entry, 1966’s Johnny Yuma, I came across a whole lot of stuff pertaining to the TV series “The Rebel” and a Johnny Cash theme song. This spaghetti western doesn’t have anything to do with that series, which ended about a decade before the movie was released. What does that ultimately mean for this review? Nothing! So off we go.

Story
Johnny Yuma (Mark Damon) is a happy-go-lucky gunslinger and gambler who’s picked up the nickname of “Yuma” from a shootout he was involved in there. Johnny likes womanizing, shoots well left-handed, wears a vest as his signature costume piece, favors really bright shirts (that, impressively enough, he changes several times through the course of the movie instead of wearing the same thing over and over), and in some scenes seems to be wearing eyeliner. Huh.

Anyway, Johnny’s uncle, Thomas Felton (Leslie Daniels) owns a profitable ranch in Santa Marco and makes Johnny his heir. This doesn’t please his wife Samantha (Rosalba Neri) one bit since she was hoping he’d make her brother Pedro (Luigi Vannucchi as Louis Vanner) the heir. The two don’t waste any time in murdering Thomas and pinning it on a servant. These two have an interesting relationship. Pedro is a sadistic bully, little better than a simpleton. Samantha is much more subtle in her manipulations and the brains of the duo, mixing cunning with evil. Sexy evil.

Felton invited Yuma to the ranch before dying, so Samantha & Pedro figure they have to take care of him. Samantha sends a letter to an old flame, a gunslinger named Lawrence Jerome Carradine (Lawrence Dobkin). Carradine’s a classy, well dressed gent who like chess, fair play, and has an interesting holster where the gun basically hooks onto the belt with a quick release. He agrees to come because she’s offering a lot of money, but he’s quite bitter about how their relationship ended in the past. Despite the fact that she’s crazy hot.

Carradine and Yuma happen to meet up by chance in a bar brawl and develop a mutual respect for each other, even going so far as to trade guns and holsters without knowing who the other is. Johnny’s also (largely against his will) picked up a sidekick in Sorito; a cowardly, sniveling fellow who Yuma tends to browbeat on occasion because of his big talk.

The stage gets set for some confrontation and a lot of goons are going to end up dead by the end of the movie.

Visuals/Effects
Directed by Romolo Guerrieri and cinematography by Mario Capriotto. The film is very well shot. Scenes are well lit and framed, and there’s a fair amount of nice camera movement. The fight scenes in particular are nice, especially the bar brawl which mixes nice stunts and camera work.

Writing
Written by Fernando Di Leo, Romolo Guerrieri, Sauro Scavolini, Giovanni Simonelli, the movie covers fairly standard ground for a western. Family member is murdered for his money, hero seeks to avenge him. People cheat at poker, bar brawls break out, there’s showdowns and shootouts, and the villains are villainous. People expect that in a western, and this movie does those elements very well. The interesting stuff comes about with character interactions. Johnny Yuma’s a lovable rogue but there’s not a whole lot to his character other than being fun to watch and root for. Samantha Felton is a stone cold bitch, sending her lover and accomplice to deliver a letter to Carradine implicating him in Felton’s murder with half of a reward just to get him out of the picture.

The real interesting character arc goes to Lawrence Jerome Carradine. He’s got sad eyes and his past with Samantha is hinted at being painful. Apparently she left him because they were poor. He claims to not have any feelings left for her but its obvious he’s got something still there. On the one hand, he’s willing to work for her, but on the other its pretty clear that he’s all kinds of angry at her for breaking his heart. He’s the wild card of the film, and its quite fascinating to watch how his arc plays out.

One other thing the movie does is not pull punches with some character deaths. Not so much in showing gore and gruesomeness, but in the way that when it happens you go “well damn.” It adds a little more weight to the consequences of character actions, but if I say more, we’re getting into spoiler territory.

Sound
Music by Nora Orlandi, and the soundtrack is fairly standard Spaghetti Western fare. Trumpets, guitars, and lots of whistling. The score also has a few comical tags for lighter scenes without getting obnoxious, which is appreciated. I have to add that the theme song that plays at the beginning and end titles is also quite catchy.

Conclusion
There is nothing revolutionary about Johnny Yuma, but that’s not a bad thing. You don’t have to reinvent the wheel all the time. Its quite well shot, has a good sense of humor, brings a lot of intrigue to the table and tells a good, if straightforward, cowboy revenge tale. It does its job solidly with some great atmosphere, acting, and good action scenes. And seriously, Rosalba Neri is gorgeous in this. Totally recommended.


See? Catchy.

“You’re lucky today. I never kill on Thursdays. I promised.”

Ah Spaghetti Westerns. Movies Italians made about the American Southwest in the Italian countryside with mostly-Italian casts and crews and a few American lead actors. The very concept is a bit on the surreal side and I’ll admit before recently, I’ve not seen any of them. Inherent goofiness aside, I suppose its time to change that. Now where to start?
I’ll just be an ass and not pick The Man With No Name Trilogy and instead take one of the Sartana films. Who’s Sartana? From what I’ve gathered he’s another mysterious bounty hunting drifter who’s been the focus of a great many awesomely titled films with several actors playing the lead over time (and several knockoff films of much lesser quality). Guy’s got a cult following. Today’s entry is I Am Sartana, Trade Your Guns For A Coffin, AKA C’e Sartana…vendi la pistola e comprati la bara AKA Fistful of Lead from 1970. It’s not one of the “Big 4” of the Sartana movies, but it definitely leaves an impression.

Story
We start out with an impeccably dressed rider sitting down for a lunchtime picnic on his travels and witnessing a stagecoach get ambushed, slaughtered, robbed and a stick of dynamite thrown into the wagon to destroy it. Deciding to investigate, since a bounty he was looking to claim just got shot dead, he throws his canteen up into the air and shoots it, the water from it landing squarely on the dynamite, diffusing it. This told me two things: That Sartana is one hell of a shot, and that it’s going to be THAT kind of movie.

Sartana (George Hilton here as opposed to Gianni/“Johnny” Garko who was the original and definitive Sartana) discovers that the bags of gold the coach was carrying were full of sand. He follows the trail of a bandit leader named Mantas (Nello Pazzafini) clearing out one of his hideouts of henchmen and heading to the crooked town of Appaloosa where the head of the local mining company, Samuel Spencer (Piero Lulli as Peter Carter) and his henchman Baxter (Carlo Gaddi) are looking for hired guns to protect the gold shipments to Dodge City. Sartana quickly finds himself surrounded by intrigue and backstabbing and catches the eye of local hotel owner Trixie (Erika Blanc).

Sartana proceeds to outfox his enemies with Batman-like resourcefulness and planning. Things take another turn when another gunman rides into town; the poetry reading English dandy Sabbath (Charles Southwood) who’s no slouch himself when it comes to elaborately planned badassery.

Visuals/Effects
Directed by Giuliano Carnimeo (as “Anthony Ascot”), there are some interesting camera angles used (mostly spins and whip-pans) that add some different touches. Otherwise, visually the film’s not what I’d call innovative, though still well shot.

Writing
Tito Carpi on writing duty and the film mixes equal parts badassery and cheesiness. There’s a lot of entertainment to be found between the occasional cheesy one-liners, Sartana’s crazy preparedness for any given situation, and interesting little touches, like the four-barreled Derringer he carries around and a friendly game of checkers…using shot glasses. That’s badass. Horribly, horribly bad for your, but still pretty awesome.

Sound
Music by Francesco De Masi, and you know, its pretty good. Nice and catchy with a fair amount of swagger that fits the character nicely.

Conclusion
Fistful of Lead was a fantastic surprise. Sartana is one hell of an interesting gunslinger and I’m going to make it my mission to track down the rest of these films. Totally recommended both as a Spaghetti Western and as a part of “Cinema of the Awesome.”



BONUS REVIEW!

Oh, and the disc also contained Trinity and Sartana Are Coming AKA Trinità e Sartana figli di... from 1972. You would think it was connected in some way, but no. It’s not. It’s a long, dull, Buddy Comedy Western about two thieves/bank robbers who get into all sorts of not-actually-hilarious hijinks as they score loot and can’t seem to keep any of it. They pretty much used the names of popular gunslinger characters (Trinity’s another Spaghetti Western badass). The fights are childish (and I presume targeted at a younger audience), the music annoying, and everybody seems to have graduated from the A-Team School of Marksmanship. The one interesting thing it does is make “Trinity” a native of Trinidad, but its really not worth putting up with the rest of the movie. This film really isn’t worth your time, nor is it worth a full review write-up.