The Forgotten Pistolero / Il pistolero dell’Ave Maria (Ferdinando Baldi, 1969)

This movie caught me completely by surprise. Considering it’s (inexplicably) ranked at #47 in the Top 50 list, and having been disappointed by some films that came in well above that, I wasn’t expecting much. I was wrong! This has just become one of my favorite non-Leone SWs. It manages to avoid almost all the pitfalls that undermine so many others. It’s a lean, fast-paced 80 minutes, with no shortage of action and a lot more story and character than can be found elsewhere in the genre; it has Greek tragedy running through its veins. Also, the score is easily the best I’ve heard that wasn’t written by Morricone, and scores play a huge role in these films. The cast is excellent, the script is solid, the actors look good (especially the women), and the ending is appropriately epic. The tragic love story at the center (what WAS done to poor Rafael to make him “less than a man”?) is quite touching, and the bad guy (well, the bad gal - another welcome change from the norm) isn’t one-dimensional. A great last-minute twist, too. Okay, enough raving from me, but I still gotta know - why is this rated so low by the experts here? ??? Of the four Baldi films I’ve seen, it’s easily my favorite, with Viva Django! coming in second, followed by Blindman and Texas, Adios. I guess I should check out the rest of his work, eh?

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the ending it’s litle disapointed no much gunplay :-[

This is one of my favorites in the genre! In my personaly top five! :wink:
Great Score, great Actors and an epic Story! 8)

Ballata per un Pistolero (Ballad of a Gunman) (Track 4) - YouTube :smiley:

The only real problem I had with it is that, because of its economical running-time, it couldn’t flesh out the characters as fully as I’d have liked. But compared to most SWs, its characters are already pretty “deep.” Also, the very ending scene of the trio riding away under the credits deserved a bit more screen time/coverage. (At least wait a few seconds before obscuring them with big text!) I had to rewind and rewatch it to make sure all 3 made it out alive.

[quote=“sartana1968, post:42, topic:631”]the ending it’s litle disapointed no much gunplay :-[[/quote]True, but the scale of the emotion (not to mention the awesome inferno) was more than enough to satisfy me.

I just finished watching Forgotten Pistolero. Not only was it a fantastic viewing, it was a good enough viewing for me to even rave a little about. But I wanted to discuss something related:

Quentin Tarantino and I have almost identical tastes in SWs, and I’ve noticed this very shortly after getting into them. I’d bounce around a few minor positions on his list, but our top 20 would contain almost the exact films (probably many of us here, too). The honorable mentions are even similar, though I wouldn’t have included The Trinity Series and maybe even a few others–I would move Navajo Joe from the top 20 and shove it there is probably the biggest and only real change. :slight_smile: I also consider the Grand Duel as high as him, and I know it’s because of that incredible, and I mean INCREDIBLE soundtrack that he obviously likes (watch Kill Bill). There’s also, as we all know, some things that are missing that are not even in his honorable mentions. Cemetery without Crosses is one. There’s definitely a few others that I’m sure we can name off. But…Forgotten Pistolero?

He seems to like a wide variety. Anything down to the comedy, to the epics, the “gold standards,” and to the solid regulars that have some good Spaghetti action. A wide range, but a very open mind about them. My kinda filmmaker.

But there’s one thing he also likes, and I know this from easy observation. He likes good soundtracks. Good, rememberable, orchestrated, operatic, defining, and even epic soundtracks, especially ones that go fantastically well with a motion picture. There’s just no doubt about this. Watch his movies, and you’ll see that all of his soundtracks are some of the best in this genre (aside from the ones that are “popular”). There’s a reason why Kill Bill is so awesome.

I’m confused because it seem like Forgotten Pistolero should be obviously on his list SOMEWHERE, even in the honorable mentions because of this connection. And the fact that this is truly, a great spaghetti western with one of the best plots found in the genre. It has some fantastic well orchestrated scenes with both the audio on and the visuals.

Did he use the soundtrack for anything, or it also consider too popular to use (in the case that I’ve been hiding under a rock or something)? I know he used quite a bit from many of his top 20 movies, and it’s just seemed obvious that this would be on his “soundtrack to use” list as well.

I guess my point, is that I hope he reads this, and responds. I’m wondering if he forgot it. Was he asked about this list on the spot? Or perhaps…just perhaps…he didn’t like it. It would be hard for me to buy that, though.

For reference:

Edit:

I’ve been hiding under a rock. Supposedly, this is quite a famous tune. It’s fantastic, and easily up there with the Grand Duel’s tune if not surpassing it.

I liked this one too, but I do remember liking the music a bit more than the film…I’ll have to see it again…

I’d actually say that it’s one of the few SWs that puts plot before the action, but still has fantastic action.

The story is very awesome. The characters are fantastic, too. Great twist at the end. I was fully engaged, which is something I can’t say about half of SW. One of the best plots in the genre, for sure. The music is just icing on the cake.

This has rocketed into my Top 10.

One would be doing themselves a great disservice to ths genre skipping this title. This movie should be recommended as much as Death Rides a Horse is. I’m surprised taht after seeing 25 spaghetti westerns, that I had to find out about this one on my own…something isn’t right.

The Wild East DVD is the one to get. “The Unholy Four” is a terrible watch if you choose to double feature this like I did. The downgrade in all around quality is completely staggering, and is bound to be shut off moments after playing.

Currently, I have Forgotten Pistolero marked down somewhere between my #5 and #7 favorite. This is a damn good title, and it’s unconventional in many ways, but it includes all of the elements that make great SWs great.

You’re exactly correct.

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Rewatching. Still amazed.

This is one of the best speghetti westerns of all time. It would be easy for one to make a bullet point list on the reasons why.

[quote=“Fendersrule, post:49, topic:631”]Rewatching. Still amazed.

This is one of the best speghetti westerns of all time. It would be easy for one to make a bullet point list on the reasons why.[/quote]
Have to watch it again, but I’ve had on my top 20 so far.
Only the cast could have been better, but anyway I like it really much. :slight_smile:

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Reasons why Forgotten Pistollero should be considered one of the best Spaghetti Westerns (excluding Leone, like usual):

  • The Cast. Every single damned character in this film offers a level of complexity that is rarely seen in this genre. This is likely because of the Hamlet plot where the characters are written to be complex. More specific, the actors are fantastic. People seem to rave about Giuliano Gemma, but I’ll tell you one thing, Leonard Man and Pietro Martellanza both overshadow him tremendously in acting and in presence. Leonard Mann is simply a bad ass, and I think he’s one of the best leads in the genre. Usually, when spaghettis pair up a duo of people, the second person always has to be a “second rate” character (think Tomas Millian). But the second character in this instance would be Pietro Martellanza, and he’s just as awesome as Leonard Mann. These two leads are premium as premium can get in this genre without sporting a huge name, such as “Lee Van Cleef.” Even the villains are obviously not “cheap” actors, and are easily memorable to say the least. It isn’t often where you care for two people the EXACT same…

  • The Woman. This spaghetti western has, hands down, one of the most beautiful women in the genre. Her name is Luciana Paluzzi. Look her up if you have to. She was in Thunderball.

  • The Music. Aside from Grand Duel and the Leone films, I cannot think of a better soundtrack than this one. This soundtrack defines the genre more than most.

  • 80 minutes. It’s on the shorter side, which means it has high re-watchability for a lot of people. With this time, you can also expect the film to not be bogged down with useless, pointless, and boring scenes. Every scene has a purpose.

  • The ending hits harder than 95% of spaghetti westerns ever made. I’ve even read of some people crying at the end.

  • It’s unconventional. But it’s also conventional. The intent of this movie isn’t to blast the audience will all-out action. The purpose is to tell you a meaningful, and a very touching story, and then add the action in second. This film still has plenty of action to keep these people happy, but again, it’s actually all about the drama. It’s conventional, in that it still has a killer soundtrack, stare-downs, saloon scenes, nature shots, etc.

  • It’s not a “cheap” spaghetti western. For example, Cemetery without Crosses is great. But it’s also a bit barren, much like many. This movie is full of life because its budget allows for it. Much better than average set designs, and plenty of actors available to fill the scenes with life.

  • The execution of the filming is so good, you will feel like you are NOT watching a spaghetti western much of the time. Sometimes, you will feel like you’re watching an exquisite Nicholas Roeg film or something. It’s pretty amazing. Nothing about this film is “cheap,” “flakey,” laughable," etc. It’s just really damned good.

It isn’t perfect. I’ve also wondered why the credits showed up way too damn fast. I could easily edit that, and it would make the ending even better. Have the duo ride their horses for about 10-15 seconds, and THEN slide the credits (right when the soundtrack is starting to climax). The movie seriously needed a title slide deck too, instead of pasting the huge honking letters over the scene that was transpiring.

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Classic S.Western imo! :wink:

* The Cast. Every single damned character in this film offers a level of complexity that is rarely seen in this genre. This is likely because of the Hamlet plot where the characters are written to be complex. More specific, the actors are fantastic. People seem to rave about Giuliano Gemma, but I'll tell you one thing, Leonard Man and Pietro Martellanza both overshadow him tremendously in acting and in presence. Leonard Mann is simply a bad ass, and I think he's one of the best leads in the genre. Usually, when spaghettis pair up a duo of people, the second person always has to be a "second rate" character (think Tomas Millian). But the second character in this instance would be Pietro Martellanza, and he's just as awesome as Leonard Mann. These two leads are premium as premium can get in this genre without sporting a huge name, such as "Lee Van Cleef." Even the villains are obviously not "cheap" actors, and are easily memorable to say the least. It isn't often where you care for two people the EXACT same...
Agree with you Fendersrule, but I still have a feeling that acting could have been better. Nevertheless I was pleasantly surprised. Leonard was indeed great here. Not one of the best leading roles in spaghettis but still a great one. I prefer for example Richard Wyler in The bounty killer. And women... 8) [quote="chameleon, post:52, topic:631"]Classic S.Western imo! ;)[/quote] Precisely. I was truly delighted when I saw this one for the first time. A truly beautifully-made spaghetti western, aside from Blindman by far Baldi's best western. ::)

Personally, I’m not sure how any of the acting could be better to tell you the truth…

This one definitely takes a couple viewings to take everything in, unless you are a die-hard hamlet fan (which I’m not).

Still shocked why it took me 35 westerns to get through in order to find this one out…

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it’s good, nothing special for my tastes, the end it’s a bit bore and has nothing, one big villain with only one guard with him??? LOL
i expect a big gunfight at the end and i get nothing just a 5 or 6 bullet’s :slight_smile:

I thought it was one of the best endings of any SW… probably the best thing Baldi has directed, imo.

This is the only film in which all three the most active “Old Men” in the genre appear: Franco Pesce, Franco Gulà - both with just under 30 SWs to their credit - and Eugenio Galadini a.k.a. Graham Sooty (12 films, 7 serious and 5 comedies).

I agree with some of the previous comments. This is definitely an underrated gem. I love Spaghetti Westerns with great soundtracks and Forgotten Pistolero has an excellent soundtrack by Roberto Predagio. Especially the theme song [i]Ballata per un Pistolero (Ballad of a Gunman)[url]Ballata per un Pistolero (Ballad of a Gunman) (Track 4) - YouTube is absolutely magnificent! Also the actors do a decent job here. Young Leonard Mann is a bit wooden but considering that this was his second role ever, I think he manages to do a good job all in all. Luciana Paluzzi is the perfect choice for the female lead role, also Pilar Velázquez plays the part of Isabella nicely too and she definitely looks beautiful here! Visually Forgotten Pistolero looks good too, there are some scenes that stand out like the ending which shows Baldi’s talent. I’ve now seen just over 30 SW’s and Forgotten pistolero takes the place in my top-20.

There’s just something that I love about these kind of spaghetti westerns which have a powerful and tragic plot. For example 10,000 Dollars Blood Money, Vengeance is Mine and Johnny Hamlet come to my mind. I’m definitely interested in seeing other spaghetti westerns that are done in same way.

Rating: 4 stars out of 5.

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The weak point of Forgotten Pistolero is the flashback scene. Here we have again Baldi at his weakest. Unlike his earlier SWs, it is the only lame scene.

Why do you think so? Although it was far too long IMO, I don’t think it wasn’t that bad, it kinda worked for me. Of course not the best aspect of the flick.