Okay, to make all agree (or at least I hope) put it this way: the dead family sequence is definitely the best that Nando Cicero has ever directed in a SW… 
This had me wondering, has SNC/M6 stopped releasing spaghetti westerns? The last release was quite a while back, maybe they didn’t sell that well? Hopefully that’s not the case, these were top notch DVDs.
Never or ever?
(In the case of ‘never’ I don’t understand it)
There’s nothing to understand, only insecure English! 
I’ve got these problems with Italian (and occasionally with English too)
The Italian sentence in the back of you head probably was: la miglior scena che abbia mai fatto
Very tricky
Where is this scene in the film? I’m now curious enough to check it.
It roughly starts after 32 minutes
The four men (the three + the Southrn officer) arrive at a house, enter it, and are confronted with the results of the massacre
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The girl arrives later
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The total sequence runs for about 5-6 minutes
Ok, this is a good scene. Not a great scene though.
The brawl in the scene before takes indeed an unwelcome step towards slapstick. Trinity material, which mostly does not work outside comedies.
But Scherp, don’t you think that Any Gun Can Play (overall a better film, yes) suffers from the same problems?
[quote=“Stanton, post:68, topic:1756”]Ok, this is a good scene. Not a great scene though.
The brawl in the scene before takes indeed an unwelcome step towards slapstick. Trinity material, which mostly does not work outside comedies.
But Scherp, don’t you think that Any Gun Can Play (overall a better film, yes) suffers from the same problems?[/quote]
It does, but the contrast between the comedy and the violence is not that extreme, moreover the movie gently flows from a more violent beginning towards a more light-hearted second half. And the entire movie was (more or less) tongue-in-cheek (take only the opening scene)
It’s always risky, this combination of comedy and violence (and I don’t know the serious movies with wry touches of humour, like GBU or The Mercenary, that’s something comepletely different), but in Any Gun can Play it works pretty well, I think. In Ben & Charley and Don’t turn the other Cheek too, to mention two films I recently watched.
Professionisti per un massacro/Red Blood, Yellow Gold means to be an exaggeration of the SW world while Vado, l’ammazzo e torno/Any Gun Can Play - as evidenced by the final scene - already borders on parody.
This unnecessary and/or exceedingly silly brawl problem is common to quite a lot of films, just to give a few examples I lunghi giorni della vendetta/Long Days of Vengeance, Amico stammi lontano almeno un palmo/Ben and Charlie, La collina degli stivali/Boot Hill; in E per tetto un cielo di stelle/A Sky Full of Stars for a Roof - which by the way I really appreciate - the director makes the mistake of starting the film in this way, quite disorienting the viewer after the sad, dramatic opening credits sequence.
Okay, interesting remarks. Here’s the full dialogue:
Jonathan: Professionisti per un massacro/Red Blood, Yellow Gold means to be an exaggeration of the SW world while Vado, l’ammazzo e torno/Any Gun Can Play - as evidenced by the final scene - already borders on parody.
Scherpschutter: Might all be true, but I still think Any Gun can Play is better constructed. It evolves from a tongue-in-cheek, but still violence-oriented (but not too violent) spaghetti western into a light-hearted comedy, with fist-fights that gradually turn into circus acts. It’s not the greatest of spaghetti westerns, but I like this idea of development towards parody. Parody, or more in general comedy, was of course part of the formula from the very beginning. The first Ringo alternates strong violence with parodist elements and light-herated moments. Like the first Ringo, Any Gun can Play feels right: I can sit back and relax. It works for me, while on the whole Professionisti per un Massacro feels uneasy and only occasionally works. This is, of course, all personal, and it’s not always possible to rationalize one’s preferences.
Jonathan: This unnecessary and/or exceedingly silly brawl problem is common to quite a lot of films, just to give a few examples I lunghi giorni della vendetta/Long Days of Vengeance, Amico stammi lontano almeno un palmo/Ben and Charlie, La collina degli stivali/Boot Hill; in E per tetto un cielo di stelle/A Sky Full of Stars for a Roof - which by the way I really appreciate - the director makes the mistake of starting the film in this way, quite disorienting the viewer after the sad, dramatic opening credits sequence.
Scherpschutter: in my opinion things are a bit different in the separate movies. In Long Days of Violence, this silly saloon brawl is in complete contrast with the rest of the movie, which is serious, dark and violent. It’s a serious flaw, of course, but it’s an isolated incident, and I can overlook it. Other movies have the same problem, one I immediately think of is Pistoleros (Ballata per un Pistolero). It’s a dark western with even some religious overtones, and then, all of a sudden, there’s this completely silly saloon brawl. Ben & Charlie is different, a bit comparable to Any Gun can Play: it evolves from one mood to another, only in this occasion it starts in a more gentle mood, and gradually develops into a darker picture. It has its flaws too, but I think it works quite well. And for a Roof a sky full of Stars is one of those movies that veer from one mood to another an back (several times). Similar movies may work – and I think this one works marvellously – but it’s a risky premise, very often they mainly work confusing (or not at all). I didn’t really like And for a Roof when I saw it for the first time. Quite disorienting, indeed. But I loved it when I watched it for a second and third time. These shifts in tone still are disorienting, but I somehow managed to overlook them, and discovered how good the film actually is. Boot Hill is different from all the rest: it’s a Stanton movie.
Introduced me to a new term…a Stanton movie.
This poster demonstrates, if indeed demonstration was necessary, that the current version is stupidly censored >:(
It seems that Cicero was even prosecuted for incitement to violence! :o
From 1:10:45 to 1:13:00
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What a mess of a movie. I had a feeling I was in trouble with Hilton’s ability to sniff out money and his crazed laughing and blowing up stuff but thought that things were going to settle down a bit when they found the dead family (the two kids on the bed got me) and they’re goofiness seemed to fade away for a bit - but not for long. Rambling plot and uninteresting characters.
all talents are wasted in this one
boring from the beginning to the end
Hackneyed adjective, sartana1968!
Let it be said, boredom is subjective: in my view Professionals for a Massacre is lively and eventful.
The General is played by Carlo Gentili (screen on the right from A.A.A. Massaggiatrice bella presenza offresi)
He’s credited as Costume and/or Scene designer in at least five SWs: this one, A Pistol for Ringo, Bandidos, Bury Them Deep and Paolo Bianchini’s Machine Gun Killers.
Not to be confused with Giorgio Gentili, assistant director on Sledge.
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Anyone heard anything about the allegedly digitally remasterd release of this from TGG Direct that’s Amazon.com exclusive? I’ve heard mixed stuff about some of their other releases.
Re-watched this one, had not seen it in a long time. Well, it was a little bit better than i remembered and i thought that the three leads worked very well together. So, despite Greorge Martin’s ugly toopee, Edd Byrnes girly voice and some truly ugly Mexicans, this light-weight spagh was fun and entertaining nevertheless.
Yep, me too. don’t know why I hated it so much before 