Spagvemberfest 2023 - or the crows will drink our beers

Day 7

Cuatro balazos - The Spaghetti Western Database (spaghetti-western.net)

A whodunnit from the early days of the genre that has a very interesting premise though it doesn’t entirely follow through on the delivery. It all centers around a man who is murdered as he is about to leave town with his girlfriend. Convicted of the crime, the girlfriend attempts to make an ill fated escape but is run over by a runaway wagon. Her brother, a notorious gunfighter, arrives in town intent on revenge and the death toll continues to grow.

The mystery portion of this movie is actually pretty entertaining and could have been really good with a bit more imagination. Those looking for non-stop gunplay might be a little disappointed as this movie definitely has the feel of a 1950s era U.S. western.

The new MVD Classics release is far from perfect, especially in the beginning as the picture is extremely jumpy and the sound is abysmal. Everything lines out a bit into the movie and from then on, the picture quality and sound are pretty decent in comparison. It is very much in line with their prior Hudson River Massacre release though perhaps a step below. What can you expect from a $7.99 new release?

12 Likes

Day 6 (or 7 or whatever, since I skipped a day, I saw this one yesterday, not sure how you count it): Vamos a matar, Compañeros

This was a rewatch, as I´ve already seen it many times. Although uneven with too much slapstick and downright dumb moments, the film is truly excellent, which becomes more and more apparent on each subsequent viewing, and these qualities cannot be undermined by the weak moments. I forgot how downright great Tomas Milian is, particularly in the second half of the film. Overall, still an inconsistent but very solid 8/10.

I will watch another one tonight.

9 Likes

‘DAYS OF VIOLENCE’, aka ‘I giorni della violenza’ (1967)

Directed by Alfonso Brescia, with a suitably memorable soundtrack by SW regular, Bruno Nicolai, this memorable fable tells the tale of Peter Lee Lawrence (Karl Hirenbach) joining a Confederate band of rebels in the last days of the Civil War.

The film is basically a right of passage for our hero (Lawrence); who begins as a thoroughly nice guy, then engages in conflict, endures loss, and returns as a bitter, rather pissed-off outlaw with a price on his head - and no girl to show for it, because she has fallen for a yankee ‘gentleman’ - who then turns out to be a thorough-going bastard.

I’m not a big fan of Peter Lee, but actually thought he did a stellar job in this one. He is joined on his journey from nice, bad, doubtful, bitter, revengeful, justice-seeking loner, by SW regulars, Nello Pazzafini, and Andrea Bosic.

image

image

Romano Puppo (Lee Van Cleef’s usual stunt double), pops up just long enough to take yet another dive for SW posterity and folklore.

image

The love interest is provided by the incredibly beautiful Yugoslavian, Beba Loncar.
She may be better known to Western audiences as the girl in ‘The Long Ships’ (1964), who is kidnapped by Russ Tamblyn’s Viking character - can’t say I blame him!

image

Fan favourite, Rosalba Neri, makes an all too brief appearance near the beginning of the film, but it will be enough to satisfy her many fans…

‘Days of Violence’ is not a classic by any stretch of the imagination, but it has enough going for it to warrant a few viewings more…

image

13 Likes

Day 7: Johnny Yuma

Thoughts:

I don’t think there’s many other spaghetti westerns out there where the slick gunslinger drifter main character is the target of an inheritance scheme. Catchy opening theme song. Rosalba Neri undresses in front of a horny parrot. Some pretty violent and cruel moments. Mark Damon does some safe cracking. Pretty good.

10 Likes

Day 7: Djurado (1966) D-Giovanni Narzisi. Starring Dante Posani (billed as Montgomery Clark), Scilla Gabel, and Mariangela Giordano. Bottom-of-the-barrel spaghetti about a poker player who helps a female bar owner save her struggling saloon and take on a local predatory business tycoon, Tucan (pronounced “Doo-kane” in the movie) and his thugs. Dujardo seemed to be marketed to teenagers. The soundtrack was overly pop rockish, even for genre entries in the mid-'60s. It appeared like Dante Posani was being marketed stateside as hunk of the moment. Hence the screen name “Montgomery Clark,” like Montgomery Wood for Giuliano Gemma with the Ringo movies. I had a difficult time watching the movie the whole way through, and found myself letting it play in the background while doing other things around my apartment. Rating: 1/5.

9 Likes

Una pistola per cento croci (1971) - Director: Carlo Croccolo - 3/10

Though the movie is intended to be a lot more serious than its sibling, videlicet Black Killer from the same director, the end result is just as helpless, but regrettably nowhere as funny as that one; the primary issue evidently originates from the fact that even though it is meant to be less of a joke, the execution is just as incompetent, so the tout ensemble simply turns out more obnoxious than amusing. The first half an hour proves agonizingly tedious and constitutes a veritable test of patience. Though the shootouts are helmed in a more or less proficient fashion, the rest of the direction leaves much to be desired in that there are multiple longueurs during which characters simply rove around with no dialogues or soundtrack playing in the background, thus certain scenes look plain odd and discombobulating for no apparent reason.

Furthermore, some of the deliberately comedic exchanges are nowhere nearly as funny as the inadvertently funny bits in Black Killer; the stuttering comic relief character promptly palls on the viewer and eventually gets on one’s nerves. The two narrative strands depicting the two disparate vendettas are bootlessly interspersed and fail to rivet attention in virtue of how formulaic and stodgy they are; at no point does the development of both character arcs come as a surprise in that one may very easily predict whither it is all going to proceed. Apart from a handful of idiosyncratic shticks, this is one very dreary affair indeed, though some people might take delectation in some of the gunplay and in how cheap it looks.

9 Likes

I remember watching this in disbelief - shockingly bad, but fun if you like marveling at ineptitude :wink:

  1. Fidani: A Barrel full of Dollars
    -When you can’t get sleep during spagvember it’s a good idea to watch some mindless Fidani fun in the middle of the night. This is actually one of Fid’s best, I think. 6/10
8 Likes

Day 7:

‘Dove si spara di piu’ (Where People Shoot Most) aka ‘The Fury of Johnny Kidd’ (1967)

Good looking melodramatic vehicle for young star, Peter Lee Lawrence … kind of enjoyed this more first time, but it’s still an above average SW with some nice stylish touches.

6.5/10

12 Likes

I really like ‘The Fury of Johnny Kidd’.…a fantastic SW re-imagining of the ‘Romeo and Juliet’ tale.

One of the many reasons is that it features my no. one SW lady, the exquisite Cristina Galbo…the SW answer to Grace Kelly…

image

7 Likes

Grinders No.7 … is by accident also a Fidani :wink:

E VENNERO IN QUATTRO PER UCCIDERE SARTANA!

E vennero in quattro per uccidere Sartana! - The Spaghetti Western Database (spaghetti-western.net)

I like Fidanis Spaghetti Western especially when Jeff Cameron is in the lead.
Stupid but enertaining trash.
In this “Sartana” movie Jeff Cameron is the blond hero but his character has nothing in common with the “real” Sartana.
Fidani also has a small role as well as his daughter Simonetta.
As usual story is not worth telling and weird. There are not that many riding scenes as in other Fidani Spaghettis and in general all is rather serious if you compare to his later movies.
Most of the Fidani Spaghetti Westerns have not been shown in German cinema. Instead they directly made it to Video Tape or TV later in the 80s and 90s.

E VENNERO IN QUATTRO PER UCCIDERE SARTANA! was only shown one time on German TV in 1986 and then disappeared. No one recorded it on VHS back then :expressionless:
Therefore for many years I only had a copy of a danish VHS in my collection with English Dub and Danish Subtitels.
What a big surprise then in 2022 when the lost German Version appeared on Amazon Prime. A lucky day for a desperate old collector like me, haha.
In meantime it is also on YouTube:

Image is 1,33:1 Open Matte so you can make your own 16:9 version in 1,66:1 which should be cinema aspect ratio.

I especially like the cool stunts in the shoot-outs :joy:

8 Likes

Day 7: Una Nuvola di polvere… un grido di morte… arriva Sartana

This si the first sartana movie I have seen and, well, I thought it was okay. The camera work was interesting at the start, but the jumping and bouncing became nauseating at the end. I though the ction was poorly implemented into the film. It was well shot, but waaaay too over-the-top without letting up, with no time to let the scene that passed marinate. This is what separates the truly good filmers from action with the somewhat amateurish ones. Leone and Peckinpah all had longer action scenes, but knew how to build them up with suspense, not to mention the fact that they all had slower scenes where you could get truly immersed in the setting of the film. Same as with the Sabata films, the main character is clearly invincible, with no main interesting villain to face them.

On the plus side, the film had some solid acting, particularly by Garko and Navarro. The score by Nicolai was excellent, lending some solid atmosphere to the film.

Overall, a rather weak but still serviceable and at times really fun 6/10 spaghetti. Would it be worth it to me to check out the other Sartanas?

11 Likes

For a moment, I got confused by the title ( Una Nuvola di polvere… un grido di morte… arriva Sartana’).

Certainly, check out the other Garko Sartana films. I’m sure you won’t be disappointed.
My favourites are the first two
;

Although the third, (pictured below), has a great score by Bruno Nicolai.

Also: I must admit that I have a soft spot for the ‘Sartana’ film starring George Hilton…fun, silver, and lead aplenty…

9 Likes

Day 7 - Mannaja: A Man Called Blade (1977)
6/10

With a protagonist this cool, apparently the folks who made the Blue Underground DVD thought they’d give his name twice!

Rewatch. Previously I’d given it a 5/10, but maybe I just feel generous during Spagvember. Squarely in the mold of Keoma, with some homages to Sergio Corbucci’s Minnesota Clay. The director, Sergio Martino, claimed that Sam Peckinpah’s westerns were his inspiration, but I think that just sounds good for the camera. This is firmly a late Italian western entry, run of the mill and watchable.

And while I don’t care for the main theme, this snappy song that plays during Blade’s requisite recovery in a cave is a lot of fun, his “Eye of the Tiger” moment . . . if the montage were Rocky gradually getting his sight back while a snake crawled towards him.

11 Likes

Spagvember Fest 2023 Day 7

First time watch

Arizona Colt

https://www.spaghetti-western.net/index.php/Arizona_Colt

**** out of *****

For some reason I thought many SW’s, with a few exceptions already, that ran longer than 105 minutes would get boring towards the end, but not films like Death Rides a Horse and Arizona Colt, you’re kept invested the whole time.

Giuliano Gemma once again plays a smart-ass character, but he’s surprisingly low key with the jokes and remarks. Instead we’re treated to a rogue with a little more depth and nuance, showing he does indeed have a certain sense of honor.

Fernando Sancho is his usual belly laughing baddie here, but this time his bandido doesn’t give the audience anything to like about him. Gordo Watch is just pure mean spirited villainy and Sancho plays him well.

I was surprised to see Corinne Marchand in this film as I mainly knew her from French Art Films like Agnes Varda’s Cleo From 5 to 7 and Jacques Demy’s Lola, but she does very well as lady Saloon owner Jane, who gives Gemma‘a smart ass something to think about.

Roberto Camardiel is a comic blast as Double Whisky.

Herr Bruckner’s Explosive Media does it again with a stellar release that includes a nice long interview with Ernesto Gastaldi.

12 Likes

Red Sun (1971)

Look, I know this is directed by the British Terence Young and has a cast that is multinational and it may not technically be an Italian Western, but this movie is so great I’m inclined to overlook such things.

It stars one of the Magnificent Seven, Charles Bronson, and one of the Seven Samurai, Toshiro Mifune. At the time, Bronson was a huge deal everywhere but the U.S. In fact, in Japan, he was known as the face of the Mandom cologne (and still is, I have friends who only know him as that) in commercials directed by the man who made Hausu, Nobuhiko Obayashi.

Link Stuart (Bronson) and Gauche (Alain Delon, can this movie have any more suave dudes in it?) have robbed a train of about $400,000. That should be enough to set them up for life, but then they discover that a Japanese ambassador is on his way to Washington to give the President a gold sword. Gauche kills one of the bodyguards and blows up the train car, injuring Link. He’s left for dead but nursed back to help by the Japanese. The surviving bodyguard, Kuroda Jubei (Mifune), takes a blood oath to get the sword back and kill Gauche. Otherwise, both Japanese will have to commit ritual seppuku and kill themselves for their loss of honor. Link is asked to lead Kuroda to Gauche but keeps trying to lose him.

Gauche has killed all of the men and buried the money. So if he dies, Link won’t learn where his rightful stolen money is. Over time, he comes to respect the honor that Kuroda has, a man who feels that he is the last of his time as such things as duty and having a moral code are dying. The plan to get the sword and the money isn’t honorable at all. They kidnap Gauche’s lover Cristina (Ursula Andress) and offer to switch her for what they want. An attack by Commanches delays things, but Cristian soon learns that Gauche isn’t the honorable criminal she thought he was.

By the end, only Gauche, Link, Kuroda and Cristina are left alive. Kuroda realizes that he needs to kill Gauche to get his honor, but Link also needs what is his. That hesitation costs him his life, a fact that places his friend’s need above money, as Link blasts Gauche and promises — and fulfills that promise, even if being caught will see him lynched — to return the sword.

I love this IMDB fact: Mifune entertained the cast and crew throughout the entire production with his refined culinary skills, bringing over a supply of Japanese meats, watercress, seaweed and other ingredients. He would also exchange recipes for French and Italian dishes, including spaghetti.

How amazing is it that this is written by Laird Koenig, the same person who wrote The Little Girl Who Lives Down the Lane?

This movie is pretty much everything I love. The swagger of Bronson, the detached cool of Mifune, the cockiness of Delon and Andress looking incredible even when fighting inside a burning field. Even Cappucine is in it!

8 Likes

But do they have better pacing (not just straight action all the time, but more character and style) and are they less silly than this one?

1 Like

24: Alfonso Balcázar’s ¡Viva Carrancho! (1965)

24_Carrancho

Rewatching this fairly early Spanish-Italian Western was a real pleasure, not least because I was able to find a very good-looking Spanish TV version with English subtitles. My assessment of the movie hasn’t changed since 2018, which is why I’m allowing myself a partial self-quotation here.

¡Viva Carrancho! anticipates the duo of opposing characters of many later so-called Zapata Westerns, a constellation central to the narratives of Damiano Damiani’s ¿Quién sabe? (1966), Sergio Corbucci’s Il mercenario (1968) and Vamos a matar, compañeros (1970), Giulio Petroni’s Tepepa (1969), Sergio Leone’s Giù la testa and Duccio Tessari’s Viva la muerte … tua! (both 1971).

Fernando Sancho, as the film’s eponymous protagonist, reprises his role from Pistoleros de Arizona (1964), this time in an uneasy partnership with Luis Dávila’s gringo character. Robert Woods plays the duo’s antagonist, an arrant villain, mine owner, capitalist, racist, misogynist, murderer. ¡Viva Carrancho! shows a not unpleasant populist left-wing bias, the oppressed Mexican workers triumph over their exploiter and his minions. Unfortunately, it also shows many signs of a rushed, meagerly budgeted, slapdash production.

Next up: John il bastardo (1967), directed by Armando Crispino.

9 Likes

Spagvemberfest Day 8: Death Rides a Horse (Petroni)
Rewatched it because I was invited to do an intro for it at a screening in town a week ago. Great to see it on a big screen with a crowd. It has a lot more to offer than what you see on the surface, and it still holds up well after all these years.

13 Likes

Wow, that sounds awesome! What were their reactions? Were they surprised when you-know-what was revealed?