I think Petroni and Damiana just wanted to say that their movies were a bit more ambitious tha the average, run of the mill spaghetti western.
Apart from all this, I wouldnāt pay too much attention to what a artist has to say about his own work.
Well, they are different form the typical SW, they are less westerns than most of all the other SWs, and Solinasā scripts are not interested in genre conventions, neither in following them, nor in breaking them (as far as I can conclude this from the films).
But while The Battle of Algiers or even Queimada are no genre films, both Damiani and Petroni made their films in the surrounding of the SW craze, and they paid their tribute to the mechanics of genre constructions. Giu la testa is also less a western than the other Leone Spags, and as much a war film as it is a western.
Corbucci on the other hand turned the Solinas script in a real western, but one with a strong political background. And Il mercenario is as much a political film as it is a postmodern parody on the political Spags, or maybe not a parody but a film which questions the construction of the political discourse in the revolution westerns.
Wasnāt Il mercenario a little too early for that?
Il mercenario was ahead of its time ā¦ 
At least Quien sabe? was there.
In the first part of the 19th century, in the aftermath of one of the many Mexican revolutions, an English medical doctor (Steiner) saves the life of a convicted revolutionary called Tepepa (Milian) for a special reason: he wants to kill the man himself! But Tepepa manages to disarm him and starts - to win him for his cause - explaining why he has started a personal revolution against the ones who have betrayed the Mexican people. But unlike most other Europeans in Zapata westerns, Steiner is not an adventurer selling his professional skills, but a man with a personal mission. We discover that he holds Milian responsable for the death of his aristocratic fiancĆ©e. The conflict leads to a climax in what may well be the most bizarre āduelā youāll ever see in a spaghetti western, in which Milian is defenseless and Steiner must choose between his Hippocratic oath and his desire for revenge ā¦
This is one of the longest, most deliberately paced, and pessimistic films in the stream of Italian political westerns. Ideals are forgotten, friendship is betrayed, and even Milian, who remains faithful to his self-imposed mission to free the people of Mexico, canāt keep his hands clean because he is unable to understand the consequences of some of his actions. In a pivotal scene he tells Steiner he only did to the manās fiancĆ©e what any man would do to a girl, so there shouldnāt be no real conflict between them, the revolution being so much more important than a woman. Within the context of the Zapata western, the presentation of a revolutionary as a man unable to understand the pain inflicted upon others, indicates an icreasing tendency among Italian lef-wing writers and directors to reflect on their own political ideas. It also makes Tepepa probably the only revenge western in which the avenger is after the hero of the movie.
Written by the great Franco Solinas, who also wrote Damianiās QuiĆ©n Sabe? and Sollimaās La resa dei conti, the film not only reflects those fimiliar sixties sensitivities, but also seems to refer to political developements in post-war Italy, more specifically the desillusionement among communist partisans who had fought, in the later stages of WO II, side by side with their fellow Italians against Mussulini and his black coats. After a short period of cooperation and strong feelings of togetherness, Christian-democratic leader De Gaspari formed a right-wing government that would embark on a strong pro-American (and anti-communist) course. His decision to leave the communists out of his government, was experienced by many left-wing intellectuals as betrayal, and created the typical revolutionary ardour and strong anti-clerical (anti-catholic) feelings expressed is most Zapata westerns.
Petroniās direction is rather restrained; he paces his movie deliberately, integrating the Leone style flashbacks meticulously into the story. The moody atmosphere is emphasized by Francisco Marinās beautiful widescreen photography, showing us, in sombre, grayish colours, a Mexico we have never seen before in a spaghetti western. Milianās performance is less-mannered than usual, only sparsely showing his antics. Steiner is excellent, expressing every emotion from suppressed anger to stupor. Although melancholic, sometimes even depressing, the film is not devoid of humour: in a very funny scene a blindfolded Milian, waiting for his execution, fights with a priest over a cross, and than thereās that question, repeatedly asked to Steiner: Le gusta Mexico, seƱor ? (Do you like Mexico, seƱor ?) that eventually will lead to a final scene that is at the same time an anti-climax and a key-stone of the movie. Morriconeās soundtrack is delightful, wonderful, one of his very best. You wonder how the man keeps doinā it ā¦
Apart from all this, Tepepa is memorable for two things: the filmās most evil character, renegade colonel Carasco, is played by Orson Welles, who allegedly directed his own scenes, and Tomas Milian refused for the first time to be dubbed in Italian, resulting in a cute āSpitalianoā that would contribute considerably to his popularity in Italy.
More deeply rooted in Italian history than most contemporary westerns, itās no surprise the film was (and still is) more popular in Italy than abroad (and the lack of an English friendly complete version certainly didnāt help). Contemporary reviews were very positive and the Italian spaghetti western database calls it one of the great classics of the genre.
Reviewed DVD: Italian Mondo Home, boxset (DVD + Soundtrack CD)
The film is presented in the OAR of 2,35:1 and has been anamorphically enhanced for widescreen TVs. The remastered print is in nearly pristine state, with hardly any print damage visible. The image is not razor sharp though, which might cause some problems when watched on one of those gigantic screens. There are three audio tracks: Italian 5.1, Italian Mono and English Mono. However, the English audio track is incomplete, missing some 15 minutes of dialogue. Both Italian tracks are fine, but the DD 5.1 is the better of the two. Normally Iām not very fond of fake surround tracks, buth this one is a strong and immersive, with clear dialogue and doing full justice to Morriconeās magnificent score.
Scherp, you should write a SW book!!!
Seconded!
Where do you got the information about Welles directing himself?
He makes such an uninterested impression as actor, that itās hard to believe for me that he took any interest in the making of the film.
And his scenes are not filmed in the Orson Welles way. In the longer version of Touch of Evil itās evident which scenes were after the initial shooting supplemented by Harry Keller. I recogniced them before reading about them.
[quote=āstanton, post:4, topic:906ā]Where do you got the information about Welles directing himself?
He makes such an uninterested impression as actor, that itās hard to believe for me that he took any interest in the making of the film.
And his scenes are not filmed in the Orson Welles way. In the longer version of Touch of Evil itās evident which scenes were after the initial shooting supplemented by Harry Keller. I recogniced them before reading about them.[/quote]
Itās originally stated by a certain Gregorio Napoli, in āFilm Meseā (Film Month), who is cited by Gianfranco Casadio in his book āSe sei vivo, spara!, Storie di pistoleri, banditi e bouty killers nel westeren allāitalianiā; the text says:
<< (ā¦) e Orson Welles come cattivissimo colonello Carasco che sembra girarsi le sue scene da solo, visto come sono sontuoso e geniali (ā¦) >> (and Orson Welles as the ultra-bad colonel Carasco who seems to have directed his own scenes since theyāre exuberant and brilliant)
Clearly the man doesnāt agree with you! I have seen most of Wellesā films but am not an expert on his work, so I really canāt say.
Itās also stated, I think, in one of the (written) extras of the DVD (there are some citations from contemporary reviews etc.), but I have to check this tonight. I donāt know, but it could be a citation from the the same review. It seems a mere presumption from the man; he apparently has no prove for it.
@ Sebastian
Thanks !
If you wish you can also place my reviews for La Ballata per un pistolero and the Winnetou movies
Iām thinking about future projects; I think itās a good thing to publish them here first, so people can comment on it and you can check if you need it
Furthermore, Iām a better writer than computer operator
Iād like to concentrate on the more important SWs, Top 20/30 stuff so to speak
But first Iām going to work on that list of English friendly French DVDs
Iād be very pleased if native speakers would correct any spelling and/or grammatical errors
A minor point but over here we abreviate the world wars to WW - i.e. WWII, not WO II, but far be it for me to correct anybodyās English, - I reckon yours is better than mine scherp!
Now, as for your soul, thatās a different matter! 
Right!
In Dutch world war = wereldoorlog, so we abreviate WO instead of WW
In an interview in Kochmediaās QUIEN SABE dvd Lou Castel mentions that he once turned down a part in a Tomas Milian western. I canāt help thinking that he meant TEPEPA. The rather cold-blooded character of Price (John Steiner) could have been written for him, itās sort of a variation of his QUIEN SABE character also written by Franco Solinas.
Great review. 
I like this movie, but Orson Welles isnāt the best thing for this roleā¦ My God, this role needed a man like Emilio FernĆ”ndez, the āevil Miexican Generalā archetypeā¦
Tomas Milian is just a genius. :-*
[quote=āSieglinde, post:11, topic:906ā]Great review.
I like this movie, but Orson Welles isnāt the best thing for this roleā¦ My God, this role needed a man like Emilio FernĆ”ndez, the āevil Miexican Generalā archetypeā¦
Tomas Milian is just a genius. :-*[/quote]
Emilio Fernandez is brilliant in the wild bunch a better performance has hardly ever been displayed as a drunken and corrupt genneral.
Just watched this for the first time I have to admit (and clumsily merging another topic into this one). What a movie. A lot more serious than other Zapata westerns, a lot more subtle, a lot better storytelling and emotion. Its is quite a mature movie. I missed out. Happy to finally have seen it.
1 Like
Itās definitely underrated with a fantastic Morricone score to boot. I donāt think Orson Welles ever championed his role much in it however.
Very underrated; it has to be the best Zapata western along with A Bullet For The General.
Yes! Not many people mention this score.
No, The Mercenary is easily the best.
Followed by Companeros, Quien sabe and Giu la testa, and only behind them is somewhere Tepepa to find.
Tepepa is a good film, but not that good.
2 Likes