Johnny Yuma’s theme song comes to mind as one of the cheesier ones I’ve heard 
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Day 15: Ringo: The Lone Rider (1968) D-Rafael Romero Marchent. Starring Peter Martell, Piero Lulli, Paolo Herzl, Armando Calvo, and Dyanik Zurakowska. I’m seeing more movies with Peter Martell this SpagFest. Martell was sublime in ‘The Forgotten Pistolero.’ I was disappointed to see him in the Demofilo Fidani dud, ‘Savage Guns.’ Though not nearly of the same caliber as ‘Pistolero’, ‘Ringo’ was enjoyable. Bloody Bill Anderson (Calvo) and his outlaws keep raiding and plundering Springfield, MO. The town leaders decide to hire an undercover Pinkerton agent to take on Bloody Bill and his crew. The perpetually smiling and charming Piero Lulli, soon shows up in Springfield, claiming that he’s just a visiting businessman. Lulli soon finds himself teaming up with Ringo (Martell) in the mutual quest to bring down Bloody Bill and his raiders. The question during most of the movie is who out of the two is the hired undercover Pinkerton agent and who isn’t. There are other weird connections between the characters in the movie that kept my attention throughout. But I won’t talk about here. Lest I spoil it for others in this forum. Rating: 3/5.
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Spagvember Fest 2023 Day 15
First time watch
Blindman
https://www.spaghetti-western.net/index.php/Blindman
**** out of *****
Whew, where to begin with this one. Tony Anthony has proved time and time again that when he puts his mind to something, he gets it done, and this is no exception, but at times it seems like he tossed in too much. The surreal aspect of some of the film is effectively but at times feels like it doesn’t know where to go. I won’t lie, at times I wasn’t sure what the hell I was watching. The film is enjoyable for the most part, and has (so far for me anyway) the largest amount of T & A I’ve ever seen in a Western, which isn’t a bad thing at all.
Anthony’s titular title character is certainly resourceful in handling all the roadblocks and trouble foisted on him, proving that while he’s blind, he’s not weak or incapable of defending himself and others, but he seems to go about some of his mission a little too nonchalantly.
Ringo Starr of The Beatles in his sole outing as a villain does a very good job at it, and surprisingly looks very much like a Mexican bandido.
Not too sure how many times I’ll watch it in the future, but it’s worth checking out even if only once. The DVD looked pretty good, but a new scan wouldn’t hurt.
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So you don’t like El puro?
Brother Outlaw is his worst film by far, actually his only bad film. My view on Mulargia was for some time similar than yours, but over the last 15 years his other Spags constantly grew in my estimation, and range from ok to very good.
Spagvemberfest 2023
Number 6
Arizona Colt (Lupo / 1966)
Another Explosive Media release and another major upgrade on my previous Mill Creek copy. There is some fault lines on show in some scenes but overall a really nice looking print. And it’s Gemma so obviously a joy to watch for me as I am a big big fan of Bello Giuliano. This one always makes me wonder as to why they made Arizona’s character quite so difficult to fathom. His insistence on taking Jane as payment doesn’t sit well with his overall persona. Oh well, maybe I need to think about that 
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3 colpi di Winchester per Ringo (1966)
I couldn’t post in the Spagvemberfest posts as I’m a new user, so I posted this here.
Milklos “Mickey” Hargitay left Hungary in 1947 to get out of being drafted into military service by the Soviet Union. He settled in Cleveland, where he worked as a plumber and carpenter. Can you imagine Hargitay coming to your house to fix your toilet? He’d already been in an acrobatic act with his brothers, a football player, a champion speed skater and a freedom fighter. He was just 21 by the time he made it to America and he started an acrobatic act with his first wife, Mary Birge. Steve Reeves inspired him to start bodybuilding and just a few years later in 1955 Hargitay won the National Amateur Body-Builders’ Association (NABBA) Mr. Universe. Jayne Mansfield demanded that he be in her movie Will Success Spoil Rock Hunter? The two became lovers, appearing in movies like The Loves of Hercules, Primitive Love and Promises! Promises! together. After they were divorced in 1963, Hargitay kept acting in Italy, appearing in Revenge of The Gladiators; Stranger in Sacramento; The Sheriff Won’t Shoot; Bloody Pit of Horror; Sette donne d’oro contro due 07; Cjamango; Ringo, It’s Massacre Time; Lady Frankenstein; Black Magic Rites and Delirium.
o deal with the rough kids in his neighborhood. He was in the Battle of the Bulge and taken prisoner and when he got back to America, he became a high school teacher and guidance counselor in Los Angeles. He was reenlisted for the Korean War and when he came home, he acted in Prisoner of Wa r, The Man with the Golden Arm and The Ten Commandments in which he drags Moses to meet the pharaoh. Before going to Italy to be an actor — the success of Steve Reeves brought every bodybuilder there — a psychic asked him if the name Gordon Mitchell meant anything to him. When he got to Italy, that was the name that he was given. He would appear in everything from Fellini’s Satyrcon to crime movies, horror, sexploitation and post-apocalyptic films.
Both Mickey Hargitay and Gordon Mitchell started their show business careers as part of Mar West’s Muscleman Review. Other bodybuilders who appeared with West included Reg Lewis (Fire Monsters Against the Son of Hercules), Charles Krauser (who later became Paul Novak, the love of West’s life), Armand Tanny (a Muscle Beach bodybuilder who often wrote about weight lifting; he organized a strike when West attempted to reduce pay of the group), Dan Vadis (Hercules the Invincible), Mission: Impossible), George Eiferman (The Devil’s Sleep; George of the Jungle was based on him), Irvin “Zabo” Koszewsk (Tommy Chong’s stunt double; he’s also in Spartacus), Dick Dubois (Athena), Dominic Juliano and Joe Gold (the founder of Gold’s Gym). Krauser and Hargitay even had a fight at a press conference in 1956 over West.
Anyways…
This movie is the one time that Hargitay and Mitchell would be in a movie together. Ringo Carson (Hargitay), Frank Sanders (Mitchell) and Tom (Spartaco Conversi) are hired by Walcom (Amedeo Trilli) to rescue his daughter Jane (Milla Sannoner). She falls for Ringo and that splits the friendship between him and Frank.
After the Civil War, Ringo becomes the town sheriff of Stone City and has a son with Jane. Frank is the leader of an outlaw gang who is hired by Daniels (Ivano Staccioli) to terrorize his hometown and drive down the price of ranches. Ringo is blinded in an accident and Frank takes over as the law, which allows him to go wild. Eventually, he kills Ringo’s mother and kidnaps Jane, which is not how you repair a friendship. There’s even a voodoo scene in this oddball Italian Western.
This was directed by Emimmo Salvi and written by Ambrogio Molteni (who I love, because he was also the lunatic who gave me Enter the Devil, Crazy Desires of a Murderer, Violence In a Women’s Prison, Black Emanuelle, Yellow Emanuelle and Sister Emanuelle) and James Wilde.
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moved. not sure why you weren’t able to reply in this thread?
16: Vamos a matar, compañeros (1970), directed by Sergio Corbucci
Il mercenario’s companion-piece, almost a remake, the end of Corbucci’s golden years, and proof that, yes, once upon a time Iris Berben was young. Berben, born in North Rhine-Westphalia in 1950, plays a highly motivated revolutionary in the spirit of the West German 1968 movement, in which she became involved through the Hamburg APO (extra-parliamentary opposition).
Over the years, even Spaghetti Westerns changed their deeply reactionary gender politics in a few cases and showed women in roles that had previously been reserved exclusively for men. The female part in almost all western all’italiana does not get beyond the tiresome whore-saint dichotomy, always male-dominated and passive. When women take on an active role, it’s usually as femmes fatales who (sexually) manipulate men in order to achieve their wicked goals. The exception: the so-called Zapata Westerns, films set in Mexico, either at the time of the Revolución or the preceding civil wars. Here, women are always seen as fighters, for example in Damiano Damiani’s ¿Quién sabe? (1966) – very cool: Martine Beswick as a soldadera with the fitting name Adelita – and in Carlo Lizzani’s Requiescant (1967), Leopoldo Savona’s Killer Kid, Corbucci’s Il mercenario (1968) – Giovanna Ralli as Columba, who has nothing in common with a dove – Giulio Petroni’s Tepepa (1969), Tom Gries’s 100 Rifles (1969) – Raquel Welch in one of her best roles – and Tonino Ricci’s Monta in sella, figlio di …! (1972). In Viva la muerte … tua! (1971), Duccio Tessari introduces an unusual female character for Spaghetti Westerns, a journalist with no scruples, played by Lynn Redgrave. And in Vamos a matar, compañeros we get Iris Berben as a militant tomboy.
Corbucci’s tenth Western shows Berben in one of her earliest roles, her only appearance in this genre. A big movie career did not follow for her, but she soon became a German television favorite and enjoys lasting popularity to this day. Things did not go well for the second German actress in Vamos a matar, compañeros: Karin Schubert, born in Hamburg in 1944, drifted into pornography via so-called erotic films; in the 1990s, she tried to take her own life several times.
Next: a three-day break, as I’m off to Manchester tomorrow.
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Film #17 - Black Jack - First viewing - ok this movie was a ridiculous mess 
out of 5
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My apologies. I was incorrect. Yes, I do hold El Puro in a higher regard but it somehow never sticks in my head that he is the director for whatever reason. I think my brain is close to being filled to capacity with work related information these days.
As for his other films, I am afraid we will have to agree to disagree. Perhaps my opinion too will be swayed at some point.
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Thank you - At last, sanity prevails!
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Grinders no. 16:
UN BUCO IN FRONTE
https://www.spaghetti-western.net/index.php/Buco_in_fronte,_Un
I really like Anthony Ghidra (Dragomir Bojanic). This is probably not his best Spaghetti Western but at least average stuff. The story with the gold is not innovative but anyway the movie has a dark atmosphere, some violent scenes and a great score that makes it quite enjoyable.
This time I have watched one of my good old VHS.
I also have a Super 8 color version from Italy in my collection but it so faded that it has turned to red/white movie
If you`re not familiar with Anthony Ghidras Spaghetti Western I recommend L´ ULTIMO KILLER or BALLATA PER UN PISTOLERO.
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That’s interesting, because Robert Woods said to me that he himself and Marc Fiorini directed ‘El Puro’, and that Mulgaria was someone that neither of them respected as a director, but he was there because it was a legal stipulation to have a union director credited.
That’s from the horse’s mouth, Almeria 2013.
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Actually, that really makes a whole lot of sense.
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Day 16:
‘Lo voglio morto’ (1968) ‘I Want Him Dead’
Seen this one many times and always enjoyed it … though this time around I couldn’t get past how feckin’ stupid “our hero”, Craig Hill, is as ‘Clayton’.
Opening scene: Pre credits, Clayton and his sister are attacked by “road agents”, which he deftly dispatches.
Clayton and Mercedes ride into a town full of drunken soldiers and rape enthusiast, Jose Manuel Martin - He leaves her to get a room in this rough saloon, and 5 minutes later, she’s been raped and murdered.
The rest of the film, Craig has dozens of opportunities to avenge his sister, but that would mean the film was over in 10 minutes … he gives Jose Manuel Martin more chances than the ‘Hooded Claw’ gave ‘Penelope Pitstop’ !!!
Still very enjoyable, and the Japanese BD has fantastic picture quality - some of the outdoor scenes look like they were filmed yesterday rather than nearly 60 years ago.
6/10
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It sure do!
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Yes, that guy is mighty rapey.
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Un buco in fronte
Best regards to Grinder , maybe we watched it the same time 
Liked the dark story about the treasure in the monastery . The way there is shown by three playing cards and many holes in the forehead . Robert Hundars baddie is really bad , but has no chance against Bill Blood . My third flic with Ghidra and good work from Vari .
https://www.spaghetti-western.net/index.php/Buco_in_fronte,_Un
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Spagvemberfest Day 16 - Film 8: Django Strikes Again
What a weird film. I didn’t despise it but it wasn’t good by any means either. Was surprised to see Donald Pleasance show up.
On a side note, who does William Berger play in this. I can’t remember actually seeing him in the film, although I wasn’t always paying 100% attention, to be honest. Looking through the discussion post apparently there is a prologue on some versions of this? The copy I watched from Rarelust just starts with the opening credits over the monastery so I’m guessing he has a part in the prologue that I missed?
5/10
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Carambola, filotto… tutti in buca (1975) - Director: Ferdinando Baldi - 2/10.
Let’s face it, Baldi had no aptitude for comedy whatsoever as is evidenced by this series of films of questionable comedic merit. This is basically the same as what is found in the first installment, except that this time, the overall storyline does not even deign to dignify its audience with a concrete tale as such and upon dispensing with any semblance of serious craftsmanship, proceeds to disgorge the single vignette which is then taken and subsequently repeated over and over again, except that it is enacted in different loci and circumstances so as to bamboozle its unsuspecting viewer into thinking they are witnessing some kind of progression in this quasi-formless string of inanities disguised as a narrative.
The biggest issue undoubtedly dwells in that basically none of this is even remotely funny insofar as one feels sorely disoriented; one becomes chagrined at the realization that so many of these contrived situations are intended to provoke wild laughter, yet most of these bootless jokes simply taper off even before they are over and then they go on and on and on, prolonging this folderol by half an hour at least, which highlights the arrant dearth of substance. With the exception of ten to fifteen minutes in the middle which prove mildly amusing after a fashion, the motion picture seems content with plumbing the depths of bromidic ineptitude with little regard for scripting integrity and meaningful plot development. There is no conceivable reason to view this unless you are a glutton for punishment and want to test your endurance, but then again, there are better and more productive ways of doing that.
Djurado (1966) - Director: Giovanni Narzisi - 2/10.
To be perfectly frank, I am shocked at the lenience with which people tend to approach this absolute dreck of a motion picture. Not a single aspect of it proves even remotely passable and the absolute technical scurviness cannot be explained by the miniscule budget seeing that most of these ventures were produced on shoestring budgets with very little latitude in the way the filmmakers could creatively shape their movies. Not only is the underlying premise mind-bogglingly derivative, but also the fashion in which the storyline progresses turns out almost laughable and verges on becoming parodic, except that the intent is most certainly serious here for better or for worse. The directing smacks of a certain amateurish negligence which is particularly evident in its conspicuous visual abjectedness and fugly camerawork evoking in its utter squalor and tastelessness some of the worst dregs of the genre.
Some otiose attempts at comedy, e.g. the one in which the girl owning the cardboard saloon opens fire at the low-rent Giuliano Gemma clone only to offer him a drink a bit later, are so execrable and downright atrocious they prompted me to physically facepalm at one point, I mean what the heck were they thinking. The technical decrepitude does not end there, some of the montage is so out of whack it calls into question the basic competence of people who were tasked with assembling this abysmal failure of a flick. The turkey climaxes in what could be termed a soft deus-ex-machina which certainly bespeaks writing and creative helplessness, but by that stage, the salient want of legitimate ideas becomes demonstrably clear, so at that point, one simply exuberates at the finale, though not because of its inherent qualities, but rather because it signals the termination of the torture. What a despicable piece of trash.
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