Maybe I was not in the right mood yesterday 
Hehe, cover”art" is embarassing. I also did not recognize Pedro Sanchez in the movie 
1 Like
Spagvemberfest 2025
Day 14
Death Sentence (Lanfranchi / 1968)
A welcome rewatch of a top drawer spaghetti. This time viewed the Explosive Media bluray release and it is a delight. Picture and sound are a definite step up from the DVD which adds to an already excellent film. The interview with director Lanfranchi is also a joy and worth buying the blu just for that alone.
7 Likes
Spagvemberfest 2025
Day 15
Gatling Gun (Bianchini / 1968)
A middle of the road spaghetti for me. Not bad but not great either. It has a pretty bloody good cast though. Robert Woods, John Ireland, Roberto Camardiel, Ida Galli, etc. It also has a score which has grown on me over the years. The funky organ of Piero Piccioni didn’t sit well for me first time around but I like it quite a bit now. Anyway, plenty to like but could have been much better I think with all its composite parts.
10 Likes
I’ve been wanting to watch John the Bastard for a long time. It’s difficult to find on a streaming service or to order online for that matter.
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Day 16: Left Handed Johnny West (1965) Directed by Gianfranco Parolini. Starring Mimmo Palmara (aka. Dick Palmer), Dada Gallotti, Adriano Micantoni, Andre Bollet, Roger Delaporte, and Roberto Camardiel. Before there was Sartana or Sabata, there was Johnny West. In this early Parolini SW, the left-handed, Indian gunfighter Johnny West (Palmara/Palmer) is hellbent on revenge against the the Jefferson brothers (Micantoni). Twin crime bosses who frame him for the murder of his lady friend and her father. The Jefferson brothers’ modus operandi throughout the movie is committing crimes and blaming them on their victims. Three local yokels: McCoy (French wrestler Andre Bollet), Trent (Delaporte) and Dusty (Camardiel) are the comic relief to this unremarkable early genre entry. Watching Johnny West and comparing it to his later, more famous flicks (e.g. If You Meet Sartana, Pray for Your Death (1968) and Sabata (1969)) there is little or no resemblance. However, there’s a line later in the movie about “needing a good pallbearer.” Johnny West is American in style. The movie theme song “Johnny West” by a female singer Katyna Ranieri sounds like it would be in an American production. Rating: 2/5.
8 Likes
I just watched the movie “Shoot Gringo, Shoot” on Sunday on a local Westerns TV network, called Grit. The movie was shown under the title, “The Longest Hunt”! I noticed it was directed by Sergio Corbucci’s brother, Bruno.
3 Likes
SPAGVEMBER FEST 2025
Day 17
Dove si Spara di Piu (1967)
Rewatch
This Western adaptation of Shakespeare’s immortal tragic love story Romeo & Juliet is one of the genre’s finest mid-tier efforts. California replaces Verona, Italy, and the Mounters and Campos families replace the Montague’s and Capulet’s. The blood feud is the same, but the Campos family are the clear aggressors, expressing racial hatred of the incoming gringos to California territory. At the center is the love story Johnny Mounters and Giulietta Campos.
Peter Lee Lawrence gives a fine performance as Johnny, the Western version of Romeo. Ridiculed by his brothers and father for not having the courage to be a gunslinger, Johnny gets that courage and fire, only to find a new fire in true love. Cristina Calbos is an excellent Western version of Juliet, a spunky, tough, and strong willed young lady. In a fun case of irony, Lawrence and Calbos would fall in love on set and marry, staying together until Lawrence’s tragic death from cancer.
Peter Martell is his usual bad guy best as the Western Tybalt in the character of Rodrigo Campos. Reckless and sadistic, Rodrigo won’t be happy until he’s run out every last gringo in California. Piero Lulli’s Sheriff Cooper is a mixture of characters from the play, and becomes corrupted after surviving a duel that should’ve killed both himself and Rodrigo, a survival superstition binding them. A kind of platonic homoeroticism forming between them.
Luis Induni and Rufino Ingles are great as the family patriarchs whose deep seething hatred of each other may well be their respective families undoings.
A fun and entertaining SW that can also spark interest in the Shakespeare play that inspired it.
4.5/5
10 Likes
Spagvemberfest 2025
Day 16
Kidnapping (Cardone / 1968)
Moving on to 1969 now and decided to revisit this Brett Halsey one. I’ve always had a soft spot for Cardone and find his films always entertaining and good value for their obviously tight budgets. This one hit the spot perfectly. Very enjoyable.
8 Likes
I agree about Death Sentence and maybe not would Gatlin Gun be acceptable, but Kidnapping (Cardone / 1968) sounds like an interesting new SW for me 
32 Johnny Hamlet/The Wild And The Dirty (Enzo G. Castellari) 1968
x33 Vengeance For Vengeance/Revenge For Revenge (Mario Colucci) music Angelo Lavagnino 1968
34 Ramon The Mexican (Maurizio Pradeaux) music Felice Di Stefano 1966
35 Death Sentence (Mario Lanfranchi) 1968
36 No Room To Die/Hanging For Django/A Noose For Django (Sergio Garrone) music Vasili Kojucharov and Elsio Mancuso 1969
37 Requiescant/ Kill And Pray (Carlo Lizzani) 1967
2 Likes
- Squitieri: Django Against Sartana
-Shameless cheapie rip-off film in a Fidani-style. I’ve always found this quite entertaining though. 6/10
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No. 17 VENDO CARA LA PELLE
Little revenge SW. On one hand very brutal on other hand some cheesy moments between Shane (Mike Marshall) and the kid that remind of … SHANE.
I prefer German cut without most of these too cheesy scenes.
6,5/10
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Pecos Cleans Up grew on me the second time I watched it. I had reservations at first. But, I like it as a more light-hearted, fun sequel to the darker more serious original.
4 Likes
Saturday - Per pochi dollari ancora
One of my favorites with a great guitar/harmonica/trumpet score .
Sunday - Wanted
The third Ferroni and almost as good like the other two .
7 Likes
Day 17: Sabata (1969) Directed by Gianfranco Parolini. Starring Lee Van Cleef, William Berger, Pedro Sanchez (aka. Ignazio Spalla), Linda Veras, Franco Ressel, Aldo Canti (aka. Nick Jordan), Robert Hundar and Gianni Rizzo. It’s my own humble opinion. But, this first post-Sartana SW by the prolific Parolini is my favorite by the director and one of my favorite spaghetti’s. After $100 thousand is stolen under the noses of US Army gendarmes by a small Western town’s leaders, government agent and bounty hunter Sabata (Van Cleef) begins to investigate and blackmail the culprits.
It’s been a few years since I sat down and watched the first series entry of “the man with the gunsight eyes.” I was reminded what a humorous and fun movie it is. It’s also well more polished than Parolini’s other films. I can’t say enough wonderful things about Sanchez/Spalla as the spasmodic yet lovable Carrincha. The acrobatics of Alley Cat (Canti/Jordan) are amusing as well as impressive. William Berger is in top form as the charming yet slippery frenemy of Sabata, Banjo. The beautiful Linda Veras tempers some of the testosterone in an otherwise all-male cast. Rating: 5/5.
7 Likes
And Sancho’s bare ass!
2 Likes
God Will Forgive My Pistol (1966-1969) (orig. Dio perdoni la mia pistola) - Directors: Mario Gariazzo, Leopoldo Savona - 2/10.
The movie basically boils down to the detective being tasked with clarifying the circumstances behind the death of a certain land owner whose property was later arrogated by his neighbor. Long story short, it is a project which was kicked off and terminated by Leopoldo Savona in 1966 and then in 1969, was finished off by Mario Gariazzo, who availed himself of some additional footage so as to patch this mess together. Production’s primary issue consists in that its storyline feels extremely underdeveloped and realistically could amount to about 50 minutes worth of running time at best, yet it is stretched out here to almost an hour and a half with Gariazzo padding out Savona’s leftovers with putatively amusing buffoonery so as to achieve full-feature length. The first half an hour comes out after a fashion with Preston’s character mindfully gleaning information, generally going through the motions, yet in a largely digestible fashion. Nonetheless, following the first half, the flick prolongs film’s duration way beyond its expiry time, ceaselessly protracting the trite story by means of the repetitious cat-and-mouse game between the villain and the protagonist, who resorts to employing chicanery in the form of disguise and concealed weapons in order to confuse or eliminate his adversaries. Needless to say, not only does the final outcome feel disjointed by reason of having been helmed by two directors on two different occasions, but also most situations in it simply verge on the absurd, sporadically appearing outright desultory. Other than those thousands of fans of spaghetti western composites, who crave for yet another choice morsel, few viewers will be able to get their kicks from this arrantly picayune dross.
Bullets Don’t Argue (1964) (orig. Le pistole non discutono) - Director: Mario Caiano - 4/10.
Caiano’s handling of the material comes out “nice” in the way taking a sip of water while being fully hydrated is “nice”; in other words, though pic’s pacing, camerawork and production values are on the adequate side, the execution hardly ever stands out in any way, shape or form. Perhaps that would have been more condonable had the rest of the project turned out somewhat bolder in substance. Regrettably, the storyline here leaves a lot to be desired: it essentially comes down to the pair of brothers displaying divergent tendencies with Horst Frank’s character being the nihilistic, merciless outlaw who browbeats his younger brother into submission. The contention between the two was clearly devised as a springboard for the latter to redeem himself in film’s subsequent developments; the issue resides in that he refuses to join his brother in the path of crime not on some lofty moral grounds, considering his initial eagerness to become a criminal himself, but inasmuch as he merely recoils from violence and appears too squeamish to engage in a full-blown conflict with all of its corollaries. This is not exactly remedied by the fact that he scarcely comports himself with any dignity throughout, throwing temper tantrums and being reduced to tears on a pretty much regular basis. As a consequence of his ceaseless wimpishness, his redemption arc in the second half simply does not work and comes to look obtuse for the most part. The sheriff’s backstory about him being forced to work during his honeymoon, what with him having just entered into matrimony, does not meaningfully contribute to the plot which promptly begs the question why it was introduced to begin with. Other than Frank’s vigorous performance and Morricone’s gratifying score, there isn’t much to take pleasure in here.
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For the rest of the month, I’m going to be primarily re-watching stuff; in the meantime, I’ve already revisited Challenge Of The McKennas and Vengeance Is Mine, my previous ratings and thoughts still stand for the most part.
6 Likes
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Day 18: Tepepa
Felt drowsy while watching this, so my thoughts are inconclusive for the moment but I think that was a really good one.
4 Likes
The title “The Longest Hunt” strikes me as a very American title, no spaghetti sauce and all wet noodle!
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Lol 
! Yes. A very American title. Very egg noodles and ketchup
2 Likes