This must be a typo … surely you mean 10/10 ? 
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I remember that someone complained about too much DNR, and that it looked like an upscale 
Has anyone campared EM and WE?
Wild East’s DVD was pinched from Koch Media DVD and suffered the usual problem of softening the image when converting to NTSC from PAL.
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Day 10:
‘Bullets Don’t Argue’ … or, Le pistole non discutono (1964)
I kind of felt sorry for Rod Cameron in this, as he looks a bit past his prime … still, he’s able to pull the beautiful chicks, here we see him as ‘Pat Garrett’ on his wedding day … yeah, so she’s 30 years younger! … and he resembles ‘Bagpuss’
TRIVIA: Cameron would play ‘Garrett’ again in Dennis Hopper’s 1971 oddity, ‘The Last Movie’
The movie is ok … fairly entertaining, but rather old fashioned. Horst Frank is great as ‘Lonesome Billy’, quite a menacing villain that is more in tune with what will be in the next few years of Euro westerns.
Interesting from an historical perspective of the genre, but not a hidden gem
6/10
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Day 10: Taste for Killing (1966) (a.k.a. Lanky Fellow/For the Taste of Killing) D-Tonino Valerii. Starring Craig Hill, George Martin, Piero Lulli and Fernando Sancho. Hank “Lanky Fellow” Fellows is an unusual bounty hunter who watches from mountain tops with his telescopic rifle for bandits planning on attacking US Army gold and money shipments. Hank enters the good graces of local industrialist Collins (Lulli) after offering his services to the Omaha City Bank, and helping foil an attempt by a group of bandits, led by Sanchez (Sancho), and their attempt to rob the bank while dressed as US Army troops. The town’s US Army shipment line then becomes the target of another Mexican bandit, named Gus, and his banditos, including the colorful, machete-wielding Mingo. Hank quickly goes after Gus for both profit and personal reasons. The movie definitely grew on me after watching it a second time. The first time I watched it, I got lost in the plot. Especially, regarding Collins and Hank’s deal to double his money, as well as the kidnapping subplots. Watching it a second time, some of the complexities of the story came together more seamlessly. The character of the quirky old man added humor to the plot. However, I was left wondering if he was delusional or was his constant talk of having gold at the bank the truth. We never find out. I enjoyed how we find out that Hank’s job of watching US Army shipments is a continuous process. Like Sisyphus pushing the boulder up the hill every day. Only for it to slide back down. Only Hank’s Sisyphus is on top of the hill, and sniping at bandits. Rating: 4/5.
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I thought surely not, but then looked at the picture and I can totally see what you mean! Pretty striking resemblance there! haha
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You’ve nailed it.
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Dos hombres van a morir (1968) - Director: Rafael Romero Marchent - 6/10.
Though the story is not anything special, the good cast as well as the ever-reliable execution by Marchent firmly raise the work above the average. The superior quality of filmmaking manifests itself particularly in the way the movie progresses: the narrative flow turns out very smooth with no choppiness or jitters to be found along the way; even though the film itself might not stray from genre’s inveterate motifs too much, Marchent’s proficient touch ensures that the tale consistently rivets one’s attention and does not languish at any point by delving into some redundant impasses en route.
The straightforward story about a couple of lawmen who take on the corrupt mayor colluding with a group of local henchmen might not promote the flick to genre’s higher echelons, but at the end of the day, it works just fine and proves quite solid when combined with elements of a family drama as well as with the undercover agent subplot. Most crucially, though Martell’s character is technically the leading man of the yarn, it is Lulli who steals the show as the amicable law officer the treatment of which is further reinforced by the sound English dub for his part; the alacrity with which Lulli approaches the role basically carries this movie and it is through his participation that the film acquires the sparkle it comes to exhibit. The inevident, unconventional casting choice paradoxically works extraordinarily well and it is such a shame Lulli did not take center stage more often, as he fulfills the task most commendably here and displays his acting versatility with much verve and elan.
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Film #10: Dead Men Don’t Make Shadows - First viewing 
out of 5
SWDB PAGE: Inginocchiati straniero... I cadaveri non fanno ombra! - The Spaghetti Western Database
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Day 10. Movie No. 6. Vengeance Is A Dish Served Cold.
Kind of a muddled mess of a script, only partially redeemed by some really good cinematography in spots. Was hoping for more from Kinski, sort of like he just sleepwalked thru the little he had to do. A fun watch overall, though.
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Day 10: Those Dirty Dogs!
Thoughts:
Uneven but not unentertaining late stage spaghetti western. Has both violent massacres and a comic brawl, albeit one that’s probably better than most, although with comic brawls in spaghetti westerns that’s a low bar to cross. That said, if you enjoyed films like the Sartana or Halleluja series, it’s worth a spin.
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Nice to see a Zorro movie set in my country Portugal (old Lusitânia). I’m not sore if it was filmed here but they keep mentioning Coimbra and the landscape seems accurate. Overall it’s not a especially good one but there’s lot of action here.
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Spagvember Fest 2023 Day 10
Rewatch
Johnny Hamlet
https://www.spaghetti-western.net/index.php/Quella_sporca_storia_nel_west
***** out of *****
Having watched the SW version of Romeo & Juliet yesterday, I felt it was appropriate to follow it up today with the genre’s take on Hamlet.
This little gem has grown even more on me since I viewed and reviewed it over the summer for Mike Hauss and his upcoming book; just pure Western goodness. I know Sergio Corbucci originally conceived the idea of taking Shakespeare’s Hamlet and transporting him to the Old West, but I honestly can’t see anyone else but Enzo G. Castellari doing this film, he really did the Bard justice with just about everything.
Andrea Giordana made for an excellent Hamlet in the Johnny Hamilton role. He had that look of a man who felt disillusion after experiencing the horrors of the Civil War and uncertain of how he’d handle coming back. When he learns of a plot to harm his father’s reputation, he goes on the hunt for the truth. Unlike Shakespeare’s original Danish Prince, this Hamlet maintains his rationale and head throughout the story, never really descending into madness
German actor Horst Frank is fantastic as Claude Hamilton, the Western counterpart to Claudius. Claude is very different to Claudius in that the Shakespeare original is a coward while Frank’s take on the character is indeed willing to get his hands dirty, though he did try playing all sides to suit himself.
Gilbert Roland had some of his best later roles when he went to Italy to make the Westerns there, and his version of the Horace character is one of his best. The loyal and dear friend role never looked better when played by Roland.
In an interesting twist, the minor characters of Rosencrantz and Guildenstern are moved up to supporting roles named Ross and Guild played by Enio Girolami and Pedro Sanchez respectively. They’re essentially replacing Polonius and Laertes as Claude’s henchmen, but more as willing psychotic participants.
If anyone hasn’t picked up Herr Bruckner’s solid release of this Mini Classic, don’t hesitate - you won’t regret it.
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Spagvember Fest Day 10 - Film 2: The Unholy Four:
Still obviously lagging behind but I remembered I had a few Spags on my Amazon Prime watchlist to give a go while I’m away from my PC.
I had watched the first 20 minutes or so ages ago but I ended up switching it off as I found it quite boring. This time I stuck through those early minutes and found myself very pleasantly surprised! Leonard Mann and George Eastman/Luigi Montefiori are two of my favorite underrated Spaghetti actors so it was nice to see them as sort of co-leads in this. Always nice to see Pietro Martellanz and Woody Strode too! Past that opening slog I found lots to love: the bar fight was actually quite entertaining; the graveyard shootout was super cool; and the final shootout was quite fantastic. I especially loved the moment with Eastman and Martellanz where Martellanz is helping Eastman aim his gun at a bandit through the floor.
My one little quibble though is about the ending. I understand that Mann’s “father” wasn’t actually his real father and he lied, but the guy clearly cared for him as proved by the fact he was at his grave every day for 3 whole years. I don’t really get why Mann would walk away so offended at the end. Anyway that’s more of just a nitpick, it didn’t really affect my enjoyment of the movie.
A solid 7/10 for me.
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Day 11
Diligencia de los condenados, La - The Spaghetti Western Database (spaghetti-western.net)
A group of outlaws, headed by Bruno Corazzari, are getting ready for trial after being arrested for committing a massacre at a ranch. An eye witness is on their way to testify against the outlaws so arrangements are made by the outlaws to intercept the stagecoach on which this witness is due to arrive. Fernando Sancho and his cronies are the ones charged with corralling the stagecoach and they hole up with the occupants at a station run by husband and wife Richard Harrison and Erika Blanc as they try to determine exactly who the witness is or to at least hold them there until after the trial. It becomes clear though that when all is said and done, the bandits are unlikely to leave any survivors behind. Unknown to the kidnappers though, Harrison holds a secret that not only connects him to Corazzari but is also the lone hope for the survival of the hostages.
The comparisons to this one and Shoot the Living, Pray for the Dead are inevitable and while that one is the better movie in my opinion, Stagecoach of the Condemned is not without merit. Though a bit drawn out, it is quite successful in setting a mood of apprehension and dread throughout and the ending violence is quite satisfying for a spaghetti western fan.
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Yes, I was hoping for that too. Unfortunately, nada.
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Day 9: Il Grande Silenzio
I just love rewatching this film. This is the bleakest sw I have seen. Brutal but beatuiful. Some fantastic performances. The only flaws are mainly budget-related goofs (the potatoes are clearly thrown towards the characters in the potato-shooting scene). My fav non-Leone after La Resa Dei Conti. 9/10
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‘Life’s Tough…Eh, Providence’? (1972)
Oh dear…although I’m a fan of Tomas Milian, I struggled with this SW ‘comedy’.
Directed by Giulio Petroni (‘Death Rides a Horse’), this rather feeble attempt at slap-stick involves Milian as an eccentric bounty-hunter (Providence), who travels the West in a ‘modified’ stagecoach. Gregg Palmer (‘Big Jake’ (1971), plays a rather dumb bum with a price on his head, whom Providence turns in for the reward, and promptly sets free again in order to again cash in on the bounty…sound familiar?
On a brighter note, il Maestro, Ennio Morricone, provides a suitable, uplifting score…so no surprise there.
Tomas Milian tries too hard to be funny in this one; attempting to be an SW Charlie Chaplin. To me, he simply comes across as a smug, self-satisfied smart-arse. If you like that kind of character, then Milian throws himself (as always) into the role with boundless energy and enthusiasm. You have to admit that Tomas always immersed himself in whatever character he played…
Gregg Palmer simply acts as Milian’s unwitting side-kick, and doesn’t really have much to do except behave as a witless foil for our ‘hero’s’ often childish antics.
Having said that, there were moments when I smiled at the ‘Silent Comedy’ gags and slap-stick. In that respect, Milian and Palmer were an excellent chalk and cheese pairing - not hilariously funny, but also not a total waste of time.
All in all, not a Milian SW I’ll be revisiting anytime soon. Who knows, though…it may grow on me. Then again…so does poison ivy…
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- De Martino: Django Shoots First
-Glenn Saxon plays the most non-typical Django and Fernando Sancho has one of his rare good guy roles. Slightly comedic film without turning into stupid slapstick until the end which has one of those inevitable saloon fights, but at least that fight is crucial to the plot. 6/10
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