Spagvemberfest 2023 - or the crows will drink our beers

[Companero_M (Martin)]

19: La resa dei conti (1967), directed by Sergio Sollima

With the rigidly disdainful Austrian Baron von Schulenberg, played by Gérard Herter, born in Stuttgart, Germany, Sollima and his writers have created one of the more impressive and original villains of the Italian Western. The former officer von Schulenberg represents the Prussian school of the Imperial Austrian Army (1806–1867) and the Austro-Hungarian Armed Forces (1867–1918). With his crew cut and monocle, upright posture as if he had swallowed a broom, consummate manners, condescending arrogance, cultural sophistication—he plays Beethoven’s Für Elise on the piano—and aggressive competitiveness, he stands for the militaristic world view that led to the disaster of the First World War and, subsequently, the Second.

The fact that a villain is Austrian is rather unusual for genre films made after 1945; generally, this part was given to Germans (what’s the difference, you might ask). Perhaps the long history of military conflicts between Austria and Italy played a certain, small role in the choice of an Austrian as villain. Going back to the late Middle Ages, today’s northern Italy in particular was always a center of conflicting interests, which culminated in the three Italian Wars of Independence from 1848 to 1866. The efforts to unite Italy, the Risorgimento, reached their goal in 1871. During World War I, Austria and Italy once again faced each other as enemies, and at the end of the war all northern territories south of the Brenner Pass fell to Italy. This in turn led to acts of terrorism on the one side and state oppression on the other in the 1950s and 1960s.

That Austrian-American director Erich von Stroheim served as model for von Schulenberg can be considered certain. There was never a noble family von Schulenberg in Austria, and that the baron was almost completely omitted from the original German theatrical version is astonishing. It was not until 2005 that Der Gehetzte der Sierra Madre (the German title translates as “the hunted man of the Sierra Madre”) was finally released in its complete version on DVD in Germany.

Next: Eugenio Martín’s El precio de un hombre (1966).

[Gingerbread80]

Very appropo !

[Gingerbread80]

Day 12: Dead Men Don’t Make Shadows (a.k.a. Stranger that Kneels Beside the Shadow of a Corpse) (1970) D-Demofilo Fidani. Starring Hunt Powers, Franco Borelli, Gordon Mitchell, and Simonetta Vitelli. It was difficult for me to take a movie seriously that has posters with Gordon Mitchell’s mouth hanging open. The poster I found looks like Mitchell is getting a wedgie! Having watched the movie, I can say that I like Coriolano Gori’s soundtrack. Rating: 1/5.

[Grinder]

Grinders no. 12:

CHE C`ENTRIAMO NOI CON LA RIVOLUZIONE

https://www.spaghetti-western.net/index.php/Che_c'entriamo_noi_con_la_rivoluzione

Rewatch after maybe 15 years or something.
I did not like it back then…now I like it a bit more.

This is probably Corbuccis less know Spaghetti Western…for several reasons:

• Lead Actors Vittorio Gassmann and Paolo Villagio are not typical “Western stars” and were mostly famous in Italy only.
• It was not shown in several international markets (e.g. in Germany it is the only Corbucci that was not shown in cinema but had its Premiere in TV in 1994 (!).
• It is half a comedy with serious background but not that entertaining as Corbuccis previous works. Reviews are “mixed” up to today
• There are no good DVD/BD releases

When I first watched it with high expectations I was very disappointed. Now at second watch I made my peace with it. It is not a bad movie, with some good scenes and good actors. But a certain something is missing. For sure it is a better and more intelligent movie as the following Corbuccis SONNY & JED and IL BIANCO IL GIALLO IL NERO but I think they are more entertaining. At least with German Dub
I like Vittorio Gassmann in the BRANCA LEONE movies and he is wonderful in ANIMA PERSA, PROFUMO DI DONNA, etc. but in a Spaghetti Western he seemed a little lost even he made a good performance.

I have watched again German TV Print with 98 Minutes in PAL and 1,85:1 image.

[Toscano]

Following on from brother Aldo’s sterling example, I watched the movie that changed my life irreparably forever and always…
At the end of it, I have something to say which bothers me, but I need to get it off my chest.

Nothing really to say, except that it exceeds perfection by the tenth degree, encourages stubble, cigar-smoking, squinting, grimacing, coyote-calls in the middle of the night, the urge to practice an electric guitar, and converting the ‘unclean’/‘uninitiated’, who have never beheld this monument to Sergio Leone, Ennio Morricone, and a little-know actor named something Eastwood…

I can’t even begin to express how ginormous this film is…a purely fictional tale of coolness, greed, betrayal, brotherly love/hate, and downright brutality, that has attained the heights of immortality and legendary musical status.

Clint, Lee, Eli, Sergio, and Ennio are at the heights of their SW and magical cinematic glory…

Special mention must also be made of the two assistant-directors, Giancarlo Santi, and Fabrizio Gianni.
The excellent cinematography is by Tonino delli Colli.…

I contacted Fabrizio Gianni in 2017, when both he, and I, was living in Scotland. He, being the gentleman he is, was kind enough to send me autographed pics from the ‘Northern Camp’ scene in ‘GBU’, that he helped direct.

I have a bitter-sweet confession to make… I became chatty with Fabrizio Gianni , via e-mails, two phone calls, etc, and he actually invited me to meet him (all expenses paid) at an Italian restaurant in Edinburgh!
Yes…I know…you lucky bastard, Toscano…

Please forgive me, but I never got round to it…I was at my lowest, my 30 year marriage was buggered, and I thought I was too.
I was on my own, with no friends, or family.

At times I became very, very, very, very close to not dodging the bullet…
If I could have been a ‘Man With No Name’, a ‘Django’, a Sabata’, or a ‘Sartana’, I would have been…but those characters are the SW equivalent of ‘Marvel’…they are super-heroes…and I wasn’t.

It is the biggest regret of my life that I never got to speak with a close associate of Sergio Leone…
And now, I have that off my chest, it was a definite that I made impossible because I was feeling sorry for myself, and wasn’t strong enough, emotionally or physically, to stop feeling sorry for myself, and go and meet him at the time.

It was a dream come true that I wasted…

I vaguely remember Fabrizio telling me on the phone how wonderful it was to work with the main actors, and how much he loved and admired Sergio Leone. To hear those comments from my all-time favourite movie of all time…WOW!

Sorry, but my memories were clouded by personal issues at the time.
One thing I do remember from our two brief phone calls, is that - despite the fact I was at the lowest I’ve ever been in my life - his conversation lifted me when I needed it the most…

I haven’t forgiven myself for missing that heaven-sent opportunity to meet a genuine legend.

[TheSwede (Pete)]

Film #13 - Hate Thy Neighbor - First viewing out of 5 - im finding that i either love or am bored by my choices.

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

[aldo]

Day: 13

‘Tutto per tutto’ aka, ‘Go for Broke’ aka, ‘Copperface’

(1968)

Here’s a bit of a hidden gem … with more double crosses than possibly any other SW or any other film for that matter.

John Ireland excels in seemingly doing very little, but commanding the audiences interest and attention.
Mark Damon, who I usually find a bit too smart ass for his own good, stills plays his typical ‘cocky’ character, but learns a few lessons from the ‘Old Bull’ on and off screen I suspect. So they actually work very well together.

There is also the cream of Spanish pelicula villainy, with Eduardo Fajardo and Fernando Sancho, the latter sporting what can only be described as a proto ‘New Romantic’ hairdo, 15 years before that sort of thing caught on

Not a wildly original story, but very well put together and highly enjoyable 8/10

[TheyCallMeGoldMod]

Day 13: The Price of Power

Thoughts:

Great spaghetti western. Luis Bacalov’s score feels like it does a lot of heavy lifting but even so, Tonino Valerii makes a genuine effort to tell this allegorical thriller, and I think he succeeds a good majority. Giuliano Gemma, Rai Sanders, and Manuel Zarzo make for a fun team over the course of the film, and Warren Vanders is suprisingly good as the tough federal agent.

[aldo]

@TheyCallMeGoldMod

The Price of Power

I always think too much emphasis is put on the ‘Kennedy’ parallel, as this is first and foremost an action adventure western, and a very good one.

[DrGonzo703 (David Gordon)]

Day 13. Movie 8. And The Crows Will Dig Your Grave.
Almost quit this one several times. Between an opening “story so far” montage that resembled unfinished sketches, cinematography straight out of made-for-TV movies of the day, characters that collectively don’t have the I.Q. of a red brick, and a script that might be even dumber than them, I didn’t find much to like about it.
Except for the title. I loved the title.

[Grinder]

Grinders no. 13:

PARTIRONO PRETI, TORNARONO…CURATI
Partirono preti, tornarono… curati - The Spaghetti Western Database (spaghetti-western.net)
First watch 2011 … second watch 2023 and still only a copy of the greek Fullscreen VHS. What a shame there is no DVD or BD in Scope as it should be. At least it seems to be available at Prime Italy.

This is a 1973 comedy western and surprisingly an entertaining one. Great and sympathic cast with Lionel Stander and Riccardo Salvino in the lead. Theres a price on their heads and therefore they went to Mexico dressed as priests…
Really some good jokes in this entertaining movie and also a good role for Giampiero Albertini as mexican bandit.
It is obviously movie follows success of Spencer/Hill comedies but anyway it is entertianing and well made. Some small scenes are recycled from QUIEN SABE.
Greek VHS has good colors and contrast but as mentioned terrible aspect ratio.
I made me a DVD-R and pray for a better release

[aldo]

@Grinder

I made me a DVD-R and pray for a better release

… like this, perhaps?

[Grinder]

Yes😁
Ist this the Italian Version from Prime and from TV?

[JohnBaxter]

About 2/5 into this Spaghetti-feasting month it seems my participation is finally taking off. Rewatching Death Rides a Horse (Giulio Petroni, 1967) was like visiting an old friend. This was the film that convinced me that there are great spaghetti westerns out there not directed by Sergio Leone, and as such holds a honorary spot in my personal top 10.

Upon my revisit, i found on one hand that the awe i felt on my first watch have paled a bit, and the film now falls more clearly in two halves for me. I know lots of people love the opening scene, some even hail it as one of the greatest opening scenes in any western, but i frankly can’t bring myself to embrace it. It’s somehow a bit stiff and ill-conceived it think, and i’d actually not hesitate too much to call it the weakest scene of the film. No, the real opening thrill for me is the scene where Ryan is released from his chain gang. Somehow the introduction of LVC:s face, the sparse dialogue, the filming of the quarry and - probably most critical - Morricone’s mournful score all elevate the sequence to something truly impressive, and one of my favorite scenes in any western. Aside from those opening presentations and interactions between Bill and Ryan, however, the first half really isn’t madly remarkable when taken out of its context. That part is just a quite competently made and entertaining western without too much other highlights as the story begins to unfold. But on the other hand, this is ultimately not really damaging because i’ve now realized that this is a very rewarding feature if you manage to keep your interest in the build-up.

Things begin to pay off for real with the entrance of Luigi Pistilli in what i do want to call his best performance in the genre (his performance as Pablo Ramirez in GBU is top-notch as well, but too brief to really count), which turns the film away from a slow-paced thriller and character study, trough (briefly) a slightly cartoonish segment (the trap door, the framing of Ryan for the bank robbery) and into a tight, intense western adventure. As such, by the end of the ride you still feel the long build-up was definitely worth it (especially as the final scene is another of the film’s highlights). You get the feeling that you’ve grown to know the characters of, and the gradually thawing relationship between Van Cleef and Law (whom i didn’t find quite as wooden this time around). This well-crafted character development, which builds up slowly but somehow not only manages not to undermine but elevate the more action-oriented parts, are typical Petroni characteristics, as is the underlying glimpses of humanism and redemption - caught mostly in the growing bond between between our leading men - despite the cynical outlook, actually really refreshing for the genre. If you haven’t figured it out yet, this is a very personal favorite for me.

9/10 (an overly generous and affectionate grade, but it stands for the above reasons).

[aldo]

@Grinder

Ist this the Italian Version from Prime and from TV?

It is indeed … Adios Greek VHS ?

[makesthemovie]

Spagvember Fest 2023 Day 13

First time watch

His Name Was Spirito Santo

https://www.spaghetti-western.net/index.php/Uomo_avvisato_mezzo_ammazzato…_Parola_di_Spirito_Santo

*** out of *****

Don’t judge me too harshly here guys, I had a fun and good time watching this SW. Spirito Santo is no Sartana, but he’s still a suave and enigmatic figure you can get behind. Gianni Garko is good in everything I’ve seen him in and this one’s no exception. Cris Huerta made for an excellent humorous sidekick, but three of his strength feats got a little too cartoonish which resulted in a rating of only *** instead of *** 1/2.

The humor worked very well in the film, very little of the Trinity style slapstick at play, save for the Huerta stints I mentioned above. The tone is lighthearted, but the film doesn’t make light of the fact the main characters are hip deep in the Mexican Revolution, as noted by Santo mowing down a number of Federales after finding a group of Resistance fighters horribly massacred.

Plaion Pictures did an excellent job on the film’s clean up and restoration, only minute instances of age in the print itself.

Oh, and I got the Blu Ray through a trade with one of my YouTube friends from the Netherlands (thanks again buddy )

[LankyGringo (Brian)]

Day 14

Arriva Sabata! - The Spaghetti Western Database (spaghetti-western.net)

I decided to once more turn to the faithful Tubi app for tonight’s movie and landed on this one - the first time I’ve ever watched it.

I’ve never been much of a fan overall, a few films aside, of the comedic spaghetti western. Most of them are just a bit too over the top for me but, given the cast, I had to give this one an opportunity. And it did not disappoint as Anthony Steffen, Peter Lee Lawrence, and Eduardo Fajardo make an outstanding comedy trio with their alliance first initiated by Lawrence deciding to rob the bank he works as a teller at in the middle of Steffen and Fajardo robbing it.

Admittedly, the ending isn’t nearly as much fun as the beginning but it was still worth the ride.

[Bill_san_Antonio]

12. Cicero: Time of Vultures
    -A Minor favorite, Frank Wolff’s Black Tracy is one of the greatest sw characters, psychopath suffering from epilepsy. It’s too bad that the film suffers from some badly done scenes, the beginning ain’t that good and the stage robbery is just awkward. Also the music could be better. 7/10

[Bill_san_Antonio]

13. Torrado: Los cuatreros
    -I watched this in spanish from youtube. It is what I expected from Torrado. It felt like tv-western from 50’s. Fernando Sancho’s brief appearance as funny mexican bandit (what else) is the highlight of the film. 2/10

[Companero_M (Martin)]

18: El precio de un hombre (The Bounty Killer) (1966), directed by Eugenio Martín

The first foray into the Western genre by Spanish director Eugenio Martín, who died in January this year, remained his best (it’s not entirely clear who actually directed Réquiem para el gringo). There are several reasons why El precio de un hombre works so well: one of them is most likely Marvin H. Albert’s novel The Bounty Killer (1958), on which the movie is based (I assume so, as I have not read it). Albert’s books also provided the literary source for such well-known Westerns as The Law and Jake Wade (John Sturges, 1958) and Duel at Diablo (Ralph Nelson, 1966), and for the two neo-noir films about gumshoe Tony Rome (Gordon Douglas, 1967, 1968), starring Frank Sinatra.

Another reason is the strong cast Martín had the opportunity to work with: Cuban-born Tomás Milián but also English actor Richard Wyler (real name: Stapley), both in their first Western, and Halina Zalewska, who was of Polish origin, deliver atmospherically dense and rich performances. The supporting roles are excellently cast with, among others, Mario Brega, Manuel Zarzo, Tito García and José Canalejas. And yes, of course, Frank Braña also makes an appearance. The hapless gallows bird he plays doesn’t make it past the opening credits and only survives the first three minutes of El precio de un hombre. His character in Il buono, il brutto, il cattivo is given the same screen time: three minutes to die.

Operador Enzo Barboni keeps his camera moving with elegant agility and makes Wyler as cazarrecompensas, Milián as bandido and Zalewska as cantinera appear in best light and shadow. El precio de un hombre (The Bounty Killer) is “admirably cynical and distanced,” writes Alex Cox in his book 10,000 Ways to Die (p. 103 [2009], p. 113 [2019]), “a concise noir Western […] with a strong female lead.” And a great score by Stelvio Cipriani.

Next: Carlo Lizzani’s Requiescant (1967).