This is getting way out of hand
fact is, Il Mercenario is the best, but thatās a different kinda thing, hehe
I actually agree entirely with your list if you move Quien Sabe? To the back. Iām going to make myself unpopular here by saying Iāve actually never liked it, although everything from the music, script and direction were great I thought Lou Castel played a boring character (forget his name), nowhere near as interesting as Sergei Kowalski or The Penguin, and even though Volonte gave a good performance El Chuncho wasnāt half as entertaining as Milian in Companeros or Indio and Brad Fletcher. I just donāt remember anything memorable about either of them.
For me itās
- The Mercenary (my no. 5)
- Companeros (no. 6)
- Run Man Run (20)
- Fistful/Duckā¦(in top 40)
- Tepepa (In top 50)
- Quienā¦
Actually that wasnāt intended to be a ranked list.
That would be:
- The Mercenary
gap - CompaƱeros
- Duck, You Sucker
- Quien Sabe?
gap - Tepepa
Run, Man, Run is a different cup of tea, but would fit between # 4 and 5, but closer to # 4.
The # 2 - 4 are very close, have some faults, but also excellent stuff. I think I prefer Companeros for its brilliant action scenes, in that regard Duck you Sucker sucks.
[quote=āBill_Willer, post:194, topic:532, full:trueā]
Iām going to make myself unpopular here by saying Iāve actually never liked itā¦[/quote]
Actually Iāve always found Quien Sabe a little overrated for my tastes tooā¦ not that it is bad of course, just some people seem to enjoy it more than me.
I think the strongest scene is where he dictates his letter and that is used for some flashbacks to tell the story. Incredible storytelling for a spaghetti western. Amazing momentā¦
Biggest problem with Tepepa (apart from apatic Welles) is that its script was tampered with in attempt to make titular antihero some kind of romantic hero of the revolution which he was not intented to be in original Solinasā script. Off course the ending can be interpreted as āprint the legend, not the truthā, but I donāt think that was the idea and if Iām correct, Solinas admitted that he was not happy with the changes made to his script.
More of my older ramblings on this (and very interesting article they reference) can be found here: Go West, Comrade: Unearthing Politics in the Spaghetti Western - #7 by titoli
Nice to know Iām not the only one. I certainly donāt dislike it either because it does contain a lot of greatness but to me it fails when it comes to characters which I think are (with a few exceptions) the most important aspect of a film.
Which is what makes Quien sabe? better than most other Spags. They feel real, and Damiani makes some interesting stuff with them.
And thatās something Petroni is not really able to.
As people here are not very keen on following links, I insert the part of your very interesting post dealing with Tepepa.
What do you know about this?
I can understand that, they are more realistic than most characters in this genre as is the film itself, but I still find them less memorable, I genuinely couldnāt describe them if you asked me to. I agree with you on Petroni, but ironically I find Tepepa a more realistic than most character and more entertaining than El Chuncho. I am a bit biased though because I prefer Milian to Volonte, I think bringing Tepepa to life was more his doing than it was Petroniās.
I canāt remember where, but Iām quite positive Iāve read somewhere that the riding sequence that ends the movie was not Solinas idea and that he was not happy it was added.
Anybody else remember this?
Titoli, I have taken the liberty to move this discussion to the filmās thread, hope you donāt mind.
Iām not sure that Tepepa actually has a casual relation to violence. Petroni said about Tepepa that it is a film with social intension. It seems to me that, among other things, Petroni intended to question the attitude towards violence prevalent among some leftist groups at the time. While Petroni obviously wants us to sympathize with the revolutionaries, in the film that is, it seems that he at the same time questions the proportionality of their use of violence.
Take the rape of Consuelo. In Quien Sabe? Adelita asks why, as she herself was raped as a child by aristocrats, should Don Felipeās wife be spared? And in Tepepa the aristocrat woman is not spared. But I donāt think Petroni wanted to justify this act of violence. He questions it.
The same for Price, who set free to leave in peace even if he knows the revolutionariesā hideout, takes advantage of this knowledge to lead Cascorro here. It means Price is willing to let Cascorro butcher the whole community following Tepepa, men, women and children, to get his revenge. Proportionate?
So when Paquito shoots Price, it is certainly not because the doctor didnāt like Mexico. It doesnāt make sense. Immediately before this, Paquito has saved the doctor twice. But eventually Paquito realizes that Price has given them away to the army, like his own father did before. He had betrayed them after all. For this reason he shoots him.
So what did Petroni actually think about it? That of course we donāt know for sure. But neither Tepepa nor Price gets away with it. Tepepa has to pay, and so has Price.
I fond it. It is in Nocturnoās interview with Petroni. See Petroni on his westerns (interview) - The Spaghetti Western Database :
[Nocturno] In some versions, so I found out, the finale has been changed by removing the scene of Tepepa riding off, with the music of Morricone played in the background
[Petroni] Youāre right. As far as the finale is concerned, changes were made from the beginning. I first removed this final scene because Solinas had not written the scene himself and didnāt like the allegory of it. Then I realized the scene worked quite well, so I put it back. You are referring to, letās call them, censorship problems. I found out that Paramount, for the American market, had again removed this final scene with Tepapa riding off. Most probably, this had something to do with the ambiguous nature of the main character. In those days it wasnāt considered to be very wise to treat a character who had committed several crimes, even horrible ones, as a hero, let alone to mythologize him.
Thanks for sharing this - I hadnāt read this interview before.
As I have watched Tepepa a couple of times lately, Iām a little puzzled as to who actually played the roles of Consuelo, the aristocrat woman raped by Tepepa, and Marieta, Tepepaās bed companion and trusted comrade in arms. I take it that the Mexican seƱorita dancing at the fiesta and going to bed with Tepepa is the same woman as Marieta.
The SWDB has Paloma Cela as Consuelo. Iām probably wrong, but it seems to me that Paloma Cela is Marieta rather than Consuelo.
Who then played Consuelo? My guess would be Anna Maria Lanciaprima, who the SWDB has as Maria Virgen Escalande, Consueloās house maid. I have never seen a picture of Lanciaprima though. But if she was the same women who contended for the Miss Italia title in 1968, she would have the right age. Anyway, Alba Maiolini is Maria Virgen Escalande, or so it seems.
I call on @Carlos and @JonathanCorbett
Paloma Cela in A Town Called Bastard:
Marieta in Tepepa:
Consuelo in Tepepa:
Maiolini is definitely the maid.
I wrestled with this about a month or so ago when I watched Tepepa and could not reach a conclusion so I determined to return to it later. They all three have the same upper lip At least you came up with a name for the rebel girl as I couldnāt understand what Tepepa called her. Consuela in close up
As morgan said, Paloma Cela is Marieta and Anna Maria Lanciaprima is Consueloā¦
Thanks both. I think Cela is perhaps most easily identified in Tepepa during the dance at the fiesta. Is this Lanciaprima then?
.Iāve updated the filmās page. Seems that the mix-up stems from Giusti (or before him).