Beyond the Frontiers of Hate / Al di là dell’odio (Alessandro Santini, 1972)à_dell'odio

So it’s 1972 and you’ve decided to make a serious drama about the tragic plight of the American Indians and the complex, tit for tat relationship that unfurled between them and the white settlers. Indians fighting back against the loss of their lands, whites retaliating against the attacks on their farms and families. This story will try and show both sides and be soundly based in the moral dilemma faced by its protagonists, struggling between loyalty to their people and a desire to form a lasting peace. You need a strong leading man. Someone who can embody the noble savage and carry the weight of this story’s dramatic depths. Clearly there is but one man for the job. One man whose acting chops are big enough to carry the whole thing off. That’s right. Jeff Cameron.

Get Cameron on board and you guarantee the project the full range of facial expressions that will say more than any cheaply thrown together dialogue ever could. Facial expressions such as this:

or this:

Or even this:

And so Al di là dell’odio was born and with the benefit of a budget that must have been easily in excess of 12 lire we are also treated to lavish set design such as this magnificent Indian village. Just check out those fabulous Teepees.

Apparently, Apaches not only lived in Teepees they lived in Teepees that were not actually big enough to lie down in. Who knew?

But enough of the sarcasm. Its a cheap Indian picture where Jeff Cameron is by far the biggest name. What can you expect? The biggest surprise for me is that they even tried to make it at all. Not only is the subject matter quite out of kilter with most Italian made westerns (no bounty killers or Mexican bandits here) it is also almost impossible to pull off with the lack of budget it was clearly always going to suffer from. Enter stage two of my screen shot gallery.

With everything clearly shot in Italy with a cast of tens rather than thousands how was the director going to show the majesty of the land his Indian hero was fighting for or the scale of a pitched battle between the tribe and the U.S Cavalry? The answer is obvious. Splice in footage from someone else’s film where required. Someone whose film has a much better budget, whose locations have a much more dramatic scale than this:

Let’s say something more akin to this:

Or this:

Well, once you’ve started using someone else’s footage why stop there. Let’s make use of their pyrotechnics while we’re at it:

And then there’s that cool scene with the snakes in the valley. Surely we can re jig the script to work that in:

At which point you lose sight of where the line is between reasonable misappropriation of stock footage and criminal over use of someone else’s film. But the question is, which film? The landscape and Indian hoards give a pretty solid clue but Santini’s greed for another director’s footage means that we have some even clearer indications. Very early on I thought these two fellahs looked familiar:

Not the clearest screen shot I know but I bet you recognise them anyway.

And, although this is supposed to be Jeff Cameron, the costume and wig pretty clearly give it away as being someone a little more well known in a noble savage role:

Yes, clearly the plundered film is from the Winnetou series but I’m not actually sure which one. I’ve seen a handful of them but not all and I don’t think I’ve seen this particular entry. However, judging from the synopses I’ve read my guess is this all comes from Winnetou and Shatterhand in the Valley of Death. If anyone here has seen it perhaps you could confirm?

It seems fitting to add the Winnetou film’s database page link here too. After all, it makes up a fair percentage of Santini’s ‘work’. ;D

haha, that´s just great, wonder why he used only winetou movie, so many westerns were available ;D
your guess was right, at least those pictures with snakes and some pyroworks are from Valley of Death

I can confirm, Phil. Recognized the movie from the first pic with stock footage used.

Haven’t seen this movie yet. I found it on CG, but when I had burnt the torrent to a disc, it turned out to be an Mkv-torrent which my DVD-players won’t play. I’ll have to watch it on my PC. Looks pro-mi-sing.

Cheers tomas. If the Winnetou source is indeed the one I suspected then I’ll add a note into the DB page accordingly.
On the subject of which…

I thought I’d check details on the DB page (a thing I usually do after seeing a film for the first time) to ensure there were no obvious errors there. The only one that jumped out was the character name for Jeff Cameron. We had it listed as ‘Red Deer’ but the version I saw has him called ‘Kite’ in English and ‘Cervo Volante’ in Italian. My suspicions in these cases always leads me to imdb but in this case the info there matched my own. Next stop Weisser…

To his credit, our Tommy boy doesn’t list Cameron as Red Deer. I still don’t know where that came from but I’ll change it shortly anyhow. Of more interest on the Weisser front is that his entry for the film, under it’s English title of Beyond the Frontiers of Hate, says:

…see Four Came to Kill Sartana

I sensed a Weisser classic coming on so followed his advice and flipped onto his entry for the suggested film. Here’s what he says there:

[i]Once was not enough. Cherished industry hack, Miles Deem (Demofilo Fidani), re-released this standard “let’s kill notorious Sartana for a buck” film, three years after its unremarkable debut. For the comeback, the title was changed to Beyond the Frontiers of Hate and the directorial credit was altered (at least in promotion and advertising) to yet another alias, Alessandro Santini. Remarkably, most prints of the reissue have no credits at all.

Jeff Cameron sleepwalks through another one as Link, the leader of the “small but mighty” vigilante force against the evil Sartana and his gang. [/i]

Now my memories of Four Came to Kill Sartana are sketchy at best but I seem to remember that Cameron was Sartana in that flick. Someone please correct me if I am mixing it up with another Fidani masterpiece. But if I’m right, it looks like Weisser has managed to fuck up info on two films at once. A first, even for him I believe.

What is worse is that someone seems to have taken him at his word and paraphrased him in the comment on the DB page for FCTKS.!

Oh dear.

You seem to be right about that

Beyond The Frontiers of Duds…a more suitable name.

Beyond the frontiers of Nuts?

Beyond the Frontiers of copyright holders

well, Santini should name it “Django and Vinetou farts again” and could make a fortune out of it

Can’t believe this film has such a nice print readily available while some excellent spags have awful looking ones.

It is a surprise I must say. And the print is very good. In fact, the stolen footage from the Winnetou film stands out as being of inferior quality.

I have watched once a full screen copy which was as bad as the film.

The Germans should really have dubbed it into the 12th Winnetou western, but they didn’t released it here. Otherwise they had seen every chance to create a winner via a creative dubbing.

You guys make me curious. The 12th Winnetou movie. Not to be missed (for some)

Yes, the mistake of Weisser is quite glaring and obviously Al di là dell’odio/Beyond the Frontiers of Hate has nothing to do with E vennero in quattro per uccidere Sartana/Four Came to Kill Sartana: in that film, as well as in the previous Passa Sartana… è l’ombra della tua morte also directed by Fidani, Jeff Cameron plays a fair-haired and uncharismatic Sartana (in any case, a totally different character from those seen in Mille dollari sul nero and Se incontri Sartana prega per la tua morte).

But why cochino posted a big pic of Benito Pacifico/Dennis Colt (Reply #4)? :wink:

wow, what a turkey! I wonder what made director/producer think they could a make epic movie about indian war when they could afford a cast of barely 40 people. Well of course you can always steal the big fight scenes from other movies but I’ve never seen so obvious cut-and-paste job.

And Jeff Cameron… His last harakiri scene is supposed to be powerful and dramatic climax of the film. Haha, at least it gave me a good laugh.

Another film for my bottom 20.

Whithout any time to watch anything not even something going on in TV (working for the man, not easy these days), at the moment I could go for a spag while putting the kid to sleep I choose this thing, well got watch them all that my moto.

For a moment I notice some symbolism attempt of some kind, in the scene with the old soldier marching without an army while the family was slaughter by the Indians, well it was only for a moment.

Actually these are the kind of films that made me believe that I would got a chance as an actor or director for that matter, but I still admire the effort of those envolved in this kind of films, all for the love of their art, even when there’s none of that.

Anyway the last scene also made me laught, but I wasn’t expecting the hara kiri I confess ups spoilers

So the best thing I can say is:

What ever happened to Stefania Nelli

Same here: I think that the officer who gives orders to a non-existent army symbolizes the director himself struggling with a microscopic budget.
If so, a bright idea from Santini (also scriptwriter).

Not sure what to say about this one. I think scherpschutter sums it up well:

HD print from Grjngo

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Borrowing the theme music from ‘Killer Kid’ in the opening credits … in case anyone was wondering :wink: