I really liked it too, in fact much better than Mario Costa’s second Western, La belva. As mentioned in this thread, Buffalo Bill, l’eroe del Far West is a naïve, lovingly made movie, reminiscent of the Winnetou films and steeped in visual quotations from its American precedents. Among its cast and crew are some (at least for Spaghetti Western connoisseurs) familiar names, including film composer Carlo Rustichelli, actors Mirko Ellis, Andrea Scotti, Piero Lulli and Mario Brega, director of photography Massimo Dallamano, assistant director Gianfranco Baldanello, and screenwriter Ernesto Gastaldi (according to Kevin Grant [p. 66], Buffalo Bill was the first feature-length Western written by Gastaldi).
What everybody knows anyway
Baldanello later directed a slew of Westerns, Black Jack maybe the best among them, Dieci bianchi uccisi da un piccolo indiano maybe the worst. Dallamano shot Per un pugno di dollari and Per qualche dollaro in più for Leone and directed fan-favorite Bandidos in 1967. Rustichelli wrote the music for a score of Westerns; among his most remarkable works are his compositions for Giuseppe Colizzi’s Hill-Spencer trilogy, in particular his opening piece reminiscent of “O Fortuna” from Carl Orff’s Carmina Burana in Dio perdona … io no!, and his eclectic score between jazz and circus music for La collina degli stivali. Costa himself directed over thirty feature films, of which I have seen only three so far, his two Westerns and La Venere dei pirati (1960), starring Gianna Maria Canale, Scilla Gabel and Moira Orfei.