SpagvemberFest!

Work got in the way and I wasn’t able to watch any Spag’s for a few days. However I’ve had the chance to watch to movies I’ve been looking forward to for a very long time.
Day 10: Requiscant


and

Day 11: Il Mercenario

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Coming up this week:

Io non perdono… uccido
Giarrettiera Colt

But I don’t have English friendly versions of these two. Sombody here know where to find it?

I think there should be english srt subtitle file for Garter Colt available.

DAY 12
Back to the silly spags today with They Still Call Me Trinity (Barboni, 1971) and, like its predecessor, it’s a rare comedy to which I’ll give a pass. In fact I think I narrowly prefer this one.

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Me too, I love the restaurant scene.

I’ve skipped two Ro-Ma bros films, Joaquín Luis’s El aventurero de Guaynas and Rafael’s Dos pistolas gemelas (both released in 2 AL). The first one because it isn’t a “real” Western (it has helicopters, and I prefer my Westerns without vehicles > 8 horsepower, unless they’re rail-mounted); the second one because I tried to watch it two years ago and failed (suffice it to say that its poster alone makes you question your sanity). Rafael’s third Western, then, was Dos cruces en Danger Pass, released either on March 28, 4 AL (SWDb), or (in Italy) on March 28, 3 AL, and/or (in Spain) on March 8, 4 AL (IMDb); censura: September 27, 3 AL (ANICA). Bozen/Bolzano-born actor Pietro Martellanza plays revenger Alex Mitchell, who as a boy had to witness the brutal murder of his parents. A rather bleak affair. (Reviewed by Lee Broughton [“Two Crosses at Danger Pass is a little-seen and quite low budget genre entry but it remains a surprisingly affecting, engaging and enjoyable film”] and Michael Hauss [“the film unfortunately is a run of the mill spaghetti western”].)

If you had to choose between Danger Pass and Pleasant Valley, where would you go?

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Shit Storm Avenue, obviously! :wink:

This one I had no real high hopes for, but turns out to be nearly as pleasant as Pleasant Valley

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That reads like a contraction of “plea sent”, not pleasant, like someone on death row sent a plea to the governor. :wink: So it could be dangerous either way. :grimacing:

ddfdfs

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  1. God Made Them… I Kill Them
    Release Date: 29.4.1968

dio

4/10

Unlike Sam Cooper in my first Spagvember film of the year, I haven’t struck gold yet.

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I didn’t have that reaction to the poster. Do you think I have a problem?

The beholder lies in the eyes of beauty, and sanity is overrated.

Dos hombres van a morir, directed by Rafael Romero Marchent, is my second rewatch during this year’s SpagvemberFest (of the films I’ve watched so far I had only seen Tres hombres buenos before). Again we get Pietro Martellanza, but this time with a partner, Piero Lulli, who ameliorates the acting situation considerably, even though Dyanik Zurakowska isn’t of much assistance. Bloody Bill’s band of blusterous bushwhackers, who hate alliterations almost as much as Yanks, are not very nice to the townspeople of Springfield, Missouri. Lulli and Martellanza have to intervene.

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DAY 13
Ooh, I’m getting me some Dick Spitfire action today! It’s Django and Sartana’s Showdown in the West (Fidani, 1970) starring Gordon Mitchell’s gurning, grinning face, and I don’t know whether I’m excitedly looking forward to it or f*cking dreading it! A little from each column, I think. Actually, this one’s not too bad. I mean it’s bad, but it could be worse. There’s worse to come, I’m sure.

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Day 12

Sabata the Killer (Demichelli / 1970)

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Another PLL/Steff co-starring vehicle so another re-watch for me from last year’s Spagvemberfest.
My feelings haven’t changed since last time.

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Spagvember #12 Ricci: Kid, Terror of the West
-AAAAARRGHH… Third try of this abomination and I can finally say i’ve seen it. Terrible 1/10.

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Well done! … Have a large strong drink and relax :rofl:

Day 13

Four Pistols for Trinity (Cristallini / 1971)

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A load more than 4 pistols but absolutely no one called Trinity at all. Aah, the capricious titling of Italian westerns at its best. A good cast goes largely to waste but excellent use of fake cactus and endless wolf call loops so all is not lost. Also, PLL sports the largest hooded coat outside of Mordor so well worth a viewing if for nothing else!

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13, Straniero… fatti il segno della croce!

Release Date: 16.5.1968

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At this point of the Spagvember I urgently need to thank forum regular last.caress for, first, making me reconsider my prejudides against a certain director and, second, for introducing this wild thread in the first place. A million thanks!

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Being on vacation - and without laptop computer - I had some trouble sending out a newsletter announcing this years festivities. Some red wine and improvisation later I was just able to send out a belated announcement, maybe some of you received it. If only a handful folks will peak in due to that email, it was worth the trouble. Now keep “spaghing”… greetings from Baja California Sur, your Marshall Seb :slight_smile:

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Day 12.
Yesterday I watched My Name is Pecos on the Wild East blu ray. Turned out to be a lot better than I thought it would be. And all the speckles and audio static in the print kept it throughly grindhousey.

Saw the newsletter. Glad I could throw my art someplace! Hope you enjoy America!

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After Joaquín Luis Romero Marchent had ventured a little deeper into Spaghetti Western territory with La muerte cumple condena in 2 AL, Fedra West, released on May 5, 4 AL, marked the director’s return to his roots: traditional filmmaking in classical 1950s Hollywood style. Fedra West’s plot is based upon the ancient Greek myth of Phaedra, Theseus and Hippolytus, although in somewhat muddled form, laying emphasis on its Oedipal implications (“Father, I want to kill you! Stepmother, I want to …”). In the myth’s original version (which has been subject to many mutations over the centuries), Phaedra, the second wife of Theseus, king of Athens, falls in love with Hippolytus, Theseus’s son from his former marriage. Hippolytus, appalled by his stepmother’s desire, rejects her, and Phaedra’s love turns into hate. She defames Hippolytus in a letter to her husband and commits suicide. Theseus banishes his son from Athens, summons a curse, and Hippolytus is dragged to death by his chariot’s horses.

One can easily imagine a Hollywood adaptation of that mythological story, starring Liz Taylor as Phaedra and Dick Burton in a double role as Theseus/Hippolytus. We Euro-Westerners get Norma Bengell and Simón Andreu (both in their first Western) and James Philbrook as Theseus, depicted as a tyrannical ranchero with a bad temper. Fedra West plays more like a 1950s melodrama than a Western, let alone a Spaghetti Western. According to Kevin Grant, it “is a sterile rendering of a tempestuous story” (A. G. C. P., p. 173).

IMDb offers an interesting summary of Fedra West’s plot: “A bounty hunter is forced to hunt the brother of the girl he loves.” Yes, of course, Thomas Weisser, who else: “[Fedra West] tells the tender-cum-violent story of a bounty hunter (Simon Andreu) who falls in love with Lucy (Norma Bengell) and then is forced to hunt down her outlaw brother (James Philbrook)” (Spaghetti Westerns. The Good, the Bad and the Violent, p. 165).

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