Adequate SW: the pre-opening credits sequence is not at all bad, Ardisson gets into the part successfully, Lorenza Guerrieri (Muriel) is underutilized but adequately charming and the conclusion is surprisingly good, in some ways even remarkable!
On the other hand, the torture scene is definitely odd and I find Buseba/Paolo Carlini continually repeating the word āschifosiā (disgusting persons, bastards) a bit annoying.
[quote=āPhil H, post:10, topic:2087ā]Ardisson fitted his part pretty well and there were enough twists in the story to keep it interesting. (ā¦)
some of the bar room scenes tended to drag on too long[/quote]
Ha ha - I thought it somewhat preposterous, but not unexpected either - but it put a smile on my face when I saw that outfit 8) ā¦ But, yes - it was a suitable end for an enjoyable film.
No great shakes - some plotholes, some twistyness - and a good solid spag for visiting after the alehouse.
I enjoyed Ardissonās dry performance, and his odd wry grin - but the highlight performance for me was that of the muscle-goon Fred Coplan and his missing tooth.
(A better version was watched Phil - no words on the screen - a bit pixelately in the dark bits - but more than adequate when compensated for with a scoop of cider)
As regards the ending I enjoyed the combination, in my opinion particularly successful, of three ingredients: revelation + cruelty in abandoning a character dying in terrible pain to his fate (which is not very common in SWs, at this moment I can think of only Una pistola per cento croci/Gunman of One Hundred Crosses) + final joke.
Nah, the final revelation in this one is as so often one of those which can destroy a film. And of course I saw it coming, probably since Tamiroff first appeared. And, but I may remember this wrong, it didnāt make much sense.
About time I watch this movie (I usually like Ardisson, by the way, heās a nice, unlikely western hero, and because heās so unlikely, I like to see him as one)
And whilst weāre in spaghettiland - doesnāt Calisto Calisti get shot twice in this? Isnāt that him at the beginning when Amen is introduced - and later as henchman/deputy for the final house shootout?
Anyway I prefer A Man Called Amen (not to be confused with tāother oneā¦)
With the kid and a lot of pressure in Works havenāt watch the SW I wanted in the last days. To make things worst I take to decide which one to watch.
So glad I went for this small low profile but nice spaghetti, more than Ok in the entertainment department.
Always liked Ardisson, a perfect face for SW, and in all not a bad actor, he does have some style and even looks different from other SW Iāve seen with him.
Also liked the villains, they really looked real and mean, even the one used for comic relieve wasnāt too intrusive, I didnāt knew many of the actors but for instance the guy who plays the Pinkerton detective gives a nice performance, even in the final scene when the truth is revealed his face is totally different from the rest of the film, also the big guy (Fred Coplan) looked like a real actor.
And we still have the Akim Tamiroff curiosity, not a household name, but still a relatively big name in the 50ās, his dual characters are just perfect.
The story is no masterpiece of course and some scenes are just a bit overlong, but the twists in the end are well made.
So no surprises but no complains also, well maybe one the title sends you a bit more to a kind of ethereal or mystical character, which is not the case, after the first scenes the Amen stuff is almost forgotten.
But in the in a nice example of a well made unpretentious spag.
Nice classical western score for a change in a SW and that goes along well with the English dubbed version
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Maybe I am not patient enough since after 23 minutes of a lousy Youtube copy I gave up and was about to make a note of it for the record but discovered that I had already watched it before a few years ago although that time I lasted 26 minutes
ā¦ But, yes - it was a suitable end for an enjoyable film.
