It always reminds me of my old Marty Robbins Gunfighter Ballads and Trail Songs album I used to listen to when I was a kid. As a matter of fact, Marty would have been perfect for this song and I have to wonder if this album wasn’t Nora Orlandi’s inspiration. I love the song too. 
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I like Marty Robbins, but not these guys … whose name I forget? 
The Wilder Brothers? At least that’s the name that popped into my head. I might be off base.
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Film #16 - In A Colt’s Shadow - First viewing - this one had a cool aesthetic look to it but overall left me feeling meh. the story just wasnt very interesting. scenes were all over the place - 
out of 5
https://www.spaghetti-western.net/index.php/All'ombra_di_una_colt
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Isn’t he always? Nice to see you’re on the right path, though. :lol:
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Ocaso de un pistolero (1965) - Director: Rafael Romero Marchent - 6/10.
Though the motion picture might be on the old-fashioned side, this aids the movie in that the script tends to accentuate the character development and the dramatic component at the expense of the habitual action filler, which is not to say that it likewise forgoes violence and some genuine nastiness because it includes plenty of that too; the end result turns out quite gritty and gratifying in spite of the pre-Leone stylistic proclivities. The opening scene is splendid and forms an excellent point of departure, then the narrative sort of slows down, but not to an excessive extent. The general storyline does not appear all that unconventional, however, the multiple points of strife between characters render the narration suprisingly taut and three-dimensional and afford Craig Hill a chance to act.
Hill does not squander that opportunity and turns in what might be the finest performance of his career in the genre, so much to his credit, the potential of his part is fully exploited here. In addition to the aforementioned complexities, the tragic development and protagonist’s gradual relapse into the vicious spiral of violence further boost the multifaceted nature of the tale and render the viewing quite memorable and captivating; the trenchant pessimism manifesting in the way the flick unfolds, in the manner in which it approaches the theme of human nature and in the way the story eventually climaxes seems to prognosticate the subsequent developments in the genre and in light of that, the opus becomes all the more substantial and meaningful in its own right.
L’uomo dalla pistola d’oro (1965) - Director: Alfonso Balcázar - 7/10.
Contrary to the popular opinion, I fail to sense much in the way of an American feel and I find the entirety of it to be unapologetically Italian in its overall disposition, style and atmosphere. Though the trajectory of the narrative oftentimes proves somewhat tortuous and might appear a tad disjointed at times, the story is effectively bound together by the gripping premise: in order to evade the law, the main hero assumes the identity of a dead man who unbeknown to him, was some kind of renowned gunfighter. In spite of being a common crook, the protagonist eventually ends up living up to the reputation of the deceased man also by reason of him beginning to identify with his newly adopted role. Some of the auxiliary plotlines unfold in bizarre directions, but this trait actually comes to work to film’s advantage in that it conduces to storyline’s unpredictability, which does not manifest in the way the work ends, but rather in the way it arrives at the tale’s conclusion.
Hence, the principal narrative strand relating to the protagonist ensures cohesion, whereas secondary motifs introduce novelty and vigor into the equation. Sancho puts on possibly his funniest and most spirited performance out of all his appearances in Italian oaters; in spite of the hilarity of his acting exploits here, his part is far removed from the comic relief character trope and it might be one of the most cruel depictions of a Mexican bandit he ever enacted. Lastly, Balzacar’s direction turns out surprisingly solid in that numerous scenes visually exhibit a certain cinematic depth, whereas action sequences display much energy and vim in the way they are staged and cut; the storytelling, barring a couple of unnecessary jitters, is entirely satisfactory and moves at a gratifyingly expeditious pace. All in all, far and away Balzacar’s finest contribution to the genre and one of the best Italian westerns to come out of Italy in 1965 in my humble estimation.
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… e venne il tempo di uccidere
Ghidra again , this time supported by Jean Sobieski .
The baddies , Dick Palmer and Furio Meniconi , are hunted down by the deputy and the sheriff completed .
Tequila Joe is not his best character but good enough for 90 minutes fun .
https://www.spaghetti-western.net/index.php/E_venne_il_tempo_di_uccidere
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- Bosch: And the Crows Will Dig Your Grave
-This is the theme film of the year, right? I watched this last time during 2015 fest but didn’t really remember anything about it. And actually I kept falling asleep most of the running time now. Maybe I’ll try again in next 10 years or so. 4/10
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Grinders no. 15:
I CINQUE DELLA VENDETTA
Cinque della vendetta, I - The Spaghetti Western Database (spaghetti-western.net)
I have watched this movie many, many times and have several versions in my collection (VHS, DVD, 35mm).
Reason to rewatch was that friends of me put together a new version based on a good quality but heavily cut version from (spanish ?) TV. It was filled with scenes from different version and result is runtime over 96 Minutes (PAL).
I really like Guy Madison and I think this is one of of his better works in Europe.
The first and the last third of this is really good and exciting stuff. Only the middle part is too long…not really boring but not on the same level as the other sequences.
Nevertheless to me one of the better Spaghettis and the revenge story is credible made.
Hope, there will be a blu ray one day with negative scan that then should include all the scenes in good quality that currently need to be collected from different versions in so and so quality.
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Day 15. Movie 10. Navajo Joe.
When I first watched this picture a few years ago - the allusions to it in Once Upon A Time In Hollywood steered me there- I was impressed with the physicality of Reynolds’ performance. Still am, but the evolution of Corbucci’s style resonates moreso this time. Measurable difference from his earlier works.
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Film 11: I Crudeli
After taking a bit of a siesta from spaghettis, I returned with a double bill of two film I hadn´t seen before: this one and another one I will write about tomorrow. The first one was The Hellbenders by Sergio Corbucci. Man, I loved this film. The story was grippling and intense, without anything too ridiculous happening to destroy the momentum. The music aided the beautiful shots of the scenery, and the acting was top notch. The raining night sequence is one of the most well shot sequences I have seen in a spaghetti. A solid 8/10. If I were to rank the Corbucci westerns that I have seen, the list would go something like this:
Il Grande Silenzio
Django
Il Mercenario
I Crudeli
Vamos a matar, Compañeros
Le Specialiste
Navajo Joe (which is a fun film, but terribly overrated)
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Day 15: Sugar Colt (Rewatch)
Thoughts:
Always had a soft spot for this one. Jack Betts is channeling Dr. No Connery here, albeit with a much softer touch, to varying degrees of success, but when he’s in “Sugar Colt” mode he’s a perfectly ice cold killer. Helps make the more jarring tonal shifts most pallettable.
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Day 16
Rimase uno solo e fu la morte per tutti! - The Spaghetti Western Database (spaghetti-western.net)
Poor Edoardo Mulargia. His entire career as a director is littered with movies that range from the bad to the just alright but he never seemed to achieve anything beyond that - at least in my opinion.
Tonight was another Tubi night so I selected Mulargia’s Brother Outlaw, a film that I thought did achieve the just alright status.
Tony Kendall plays Sheriff Dakota Thompson who is framed for a stagecoach robbery and thrown into prison. His brother, Slim Thompson (portrayed by the virtually unknown James Rogers), arranges his release and the pair set out to bring the true criminals to justice. It is a simple enough tale that is easily followed and Mulargia weaves in enough gunplay to make it palatable.
I will have to say that spaghetti western regular Dino Strano surpasses the just alright though and is extremely entertaining as the bad man Alvarez.
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Day 15 (film 12) - Any Gun Can Play (1967)
6/10
Can it really only be 1967? This parody of the “The Good, the Bad and the Ugly” foreshadows the end of the golden era of Euro westerns. The opening scene is the most original aspect of the film. Great character actors pepper the cast. And while it can be enjoyable, the slapstick sequences had me checking the run time. I think the 97 minute cut I had was truncated, but I think an 80 minute cut without the fisticuffs would be an improvement.
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Johnny Yuma’s theme song comes to mind as one of the cheesier ones I’ve heard
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Day 15: Ringo: The Lone Rider (1968) D-Rafael Romero Marchent. Starring Peter Martell, Piero Lulli, Paolo Herzl, Armando Calvo, and Dyanik Zurakowska. I’m seeing more movies with Peter Martell this SpagFest. Martell was sublime in ‘The Forgotten Pistolero.’ I was disappointed to see him in the Demofilo Fidani dud, ‘Savage Guns.’ Though not nearly of the same caliber as ‘Pistolero’, ‘Ringo’ was enjoyable. Bloody Bill Anderson (Calvo) and his outlaws keep raiding and plundering Springfield, MO. The town leaders decide to hire an undercover Pinkerton agent to take on Bloody Bill and his crew. The perpetually smiling and charming Piero Lulli, soon shows up in Springfield, claiming that he’s just a visiting businessman. Lulli soon finds himself teaming up with Ringo (Martell) in the mutual quest to bring down Bloody Bill and his raiders. The question during most of the movie is who out of the two is the hired undercover Pinkerton agent and who isn’t. There are other weird connections between the characters in the movie that kept my attention throughout. But I won’t talk about here. Lest I spoil it for others in this forum. Rating: 3/5.
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Spagvember Fest 2023 Day 15
First time watch
Blindman
https://www.spaghetti-western.net/index.php/Blindman
**** out of *****
Whew, where to begin with this one. Tony Anthony has proved time and time again that when he puts his mind to something, he gets it done, and this is no exception, but at times it seems like he tossed in too much. The surreal aspect of some of the film is effectively but at times feels like it doesn’t know where to go. I won’t lie, at times I wasn’t sure what the hell I was watching. The film is enjoyable for the most part, and has (so far for me anyway) the largest amount of T & A I’ve ever seen in a Western, which isn’t a bad thing at all.
Anthony’s titular title character is certainly resourceful in handling all the roadblocks and trouble foisted on him, proving that while he’s blind, he’s not weak or incapable of defending himself and others, but he seems to go about some of his mission a little too nonchalantly.
Ringo Starr of The Beatles in his sole outing as a villain does a very good job at it, and surprisingly looks very much like a Mexican bandido.
Not too sure how many times I’ll watch it in the future, but it’s worth checking out even if only once. The DVD looked pretty good, but a new scan wouldn’t hurt.
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So you don’t like El puro?
Brother Outlaw is his worst film by far, actually his only bad film. My view on Mulargia was for some time similar than yours, but over the last 15 years his other Spags constantly grew in my estimation, and range from ok to very good.
Spagvemberfest 2023
Number 6
Arizona Colt (Lupo / 1966)
Another Explosive Media release and another major upgrade on my previous Mill Creek copy. There is some fault lines on show in some scenes but overall a really nice looking print. And it’s Gemma so obviously a joy to watch for me as I am a big big fan of Bello Giuliano. This one always makes me wonder as to why they made Arizona’s character quite so difficult to fathom. His insistence on taking Jane as payment doesn’t sit well with his overall persona. Oh well, maybe I need to think about that
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3 colpi di Winchester per Ringo (1966)
I couldn’t post in the Spagvemberfest posts as I’m a new user, so I posted this here.
Milklos “Mickey” Hargitay left Hungary in 1947 to get out of being drafted into military service by the Soviet Union. He settled in Cleveland, where he worked as a plumber and carpenter. Can you imagine Hargitay coming to your house to fix your toilet? He’d already been in an acrobatic act with his brothers, a football player, a champion speed skater and a freedom fighter. He was just 21 by the time he made it to America and he started an acrobatic act with his first wife, Mary Birge. Steve Reeves inspired him to start bodybuilding and just a few years later in 1955 Hargitay won the National Amateur Body-Builders’ Association (NABBA) Mr. Universe. Jayne Mansfield demanded that he be in her movie Will Success Spoil Rock Hunter? The two became lovers, appearing in movies like The Loves of Hercules, Primitive Love and Promises! Promises! together. After they were divorced in 1963, Hargitay kept acting in Italy, appearing in Revenge of The Gladiators; Stranger in Sacramento; The Sheriff Won’t Shoot; Bloody Pit of Horror; Sette donne d’oro contro due 07; Cjamango; Ringo, It’s Massacre Time; Lady Frankenstein; Black Magic Rites and Delirium.
o deal with the rough kids in his neighborhood. He was in the Battle of the Bulge and taken prisoner and when he got back to America, he became a high school teacher and guidance counselor in Los Angeles. He was reenlisted for the Korean War and when he came home, he acted in Prisoner of Wa r, The Man with the Golden Arm and The Ten Commandments in which he drags Moses to meet the pharaoh. Before going to Italy to be an actor — the success of Steve Reeves brought every bodybuilder there — a psychic asked him if the name Gordon Mitchell meant anything to him. When he got to Italy, that was the name that he was given. He would appear in everything from Fellini’s Satyrcon to crime movies, horror, sexploitation and post-apocalyptic films.
Both Mickey Hargitay and Gordon Mitchell started their show business careers as part of Mar West’s Muscleman Review. Other bodybuilders who appeared with West included Reg Lewis (Fire Monsters Against the Son of Hercules), Charles Krauser (who later became Paul Novak, the love of West’s life), Armand Tanny (a Muscle Beach bodybuilder who often wrote about weight lifting; he organized a strike when West attempted to reduce pay of the group), Dan Vadis (Hercules the Invincible), Mission: Impossible), George Eiferman (The Devil’s Sleep; George of the Jungle was based on him), Irvin “Zabo” Koszewsk (Tommy Chong’s stunt double; he’s also in Spartacus), Dick Dubois (Athena), Dominic Juliano and Joe Gold (the founder of Gold’s Gym). Krauser and Hargitay even had a fight at a press conference in 1956 over West.
Anyways…
This movie is the one time that Hargitay and Mitchell would be in a movie together. Ringo Carson (Hargitay), Frank Sanders (Mitchell) and Tom (Spartaco Conversi) are hired by Walcom (Amedeo Trilli) to rescue his daughter Jane (Milla Sannoner). She falls for Ringo and that splits the friendship between him and Frank.
After the Civil War, Ringo becomes the town sheriff of Stone City and has a son with Jane. Frank is the leader of an outlaw gang who is hired by Daniels (Ivano Staccioli) to terrorize his hometown and drive down the price of ranches. Ringo is blinded in an accident and Frank takes over as the law, which allows him to go wild. Eventually, he kills Ringo’s mother and kidnaps Jane, which is not how you repair a friendship. There’s even a voodoo scene in this oddball Italian Western.
This was directed by Emimmo Salvi and written by Ambrogio Molteni (who I love, because he was also the lunatic who gave me Enter the Devil, Crazy Desires of a Murderer, Violence In a Women’s Prison, Black Emanuelle, Yellow Emanuelle and Sister Emanuelle) and James Wilde.
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