Um sie war der Hauch des Todes (Quei disperati che puzzano di sudore e di morte / A Bullet for Sandoval)
a german bootleg with duration of 102 minutes
I finished an oriental trilogy with Im Reiche Des Silbernen Lowen
Well, yesterday i was quite enthusiastic about Winnetou I., and didnĀ“t know what a stinkie is going to be third
installment in Kara ben Nemsi adventures.
First half of it was quite good, superb exotic locations, very interesting scene in that salt marsh or lake, great jokes delivered
by Mylord and Archie (and Halef) and so on - but after promising three quarters of an hour it totally backfired.
Screenplay was nothing but a boring ragbag, where Kara wasnĀ“t even on a screen, but stuck somewhere in the desert,
meanwhile other characters were riding with their henchmen from here to there and participated in some battles,
which were veeery badly directed (if i compare them to shootouts from Winnetou, which were mostly beautifully arranged).
I was also wondering, why Kara ben Nemsi couldnĀ“t knock out that lousy Machredsch at the end. He is Old Shatterhand, as was
stated in Der Schutt, but probably there are tougher goons in Kurdistan than in the Wild West 
A Man Called Gannon (1968).
An older guy takes to looking out for a younger guy when on the trail. Things change a little though when they both get work and a ranch war breaks out.
Like both stars in this one but the chemistry between the two is just not right in this average tale, which I was expecting to be better.
Stegani: Adios Gringo[url]http://www.spaghetti-western.net/index.php/Adios_gringo[/url]
-Pretty good Gemma western from the early years of the genre.
āThe Man Who Shot Liberty Valanceā (1962)
-John Wayne, James Stewart, Vera Miles
Plot: IMDB
A senator, who became famous for killing a notorious outlaw, returns for the funeral of an old friend and tells the truth about his deed.
Phantomās Review: One of the true greats in movie history. This film is damn near perfect. Acting, direction, story and action. This film has it all. John Fordās last GREAT film. A classicā¦
[quote=āPhantom Stranger, post:8925, topic:141ā]āThe Man Who Shot Liberty Valanceā (1962)
-John Wayne, James Stewart, Vera Miles
Plot: IMDB
A senator, who became famous for killing a notorious outlaw, returns for the funeral of an old friend and tells the truth about his deed.
Phantomās Review: One of the true greats in movie history. This film is damn near perfect. Acting, direction, story and action. This film has it all. John Fordās last GREAT film. A classicā¦[/quote]
Yeahā¦ I canāt think of any flaws with itā¦ Andy Devineās personna as the votersā choice for sheriffā¦ ? Itās possible, I guess. I usually watch it about once-every-2-years, for its Ford-ian ambiance.
Itās in my Top 5 too. For those of you who havenāt read my review yet:
[url]http://imageshack.us/photo/my-images/69/liberty1g.jpg/[/url]
![http://imageshack.us/photo/my-images/69/liberty1g.jpg/[/url]](http://imageshack.us/photo/my-images/69/liberty1g.jpg/%5B/url%5D){kind=link}
[size=12pt]THE MAN WHO SHOT LIBERTY VALENCE[/size] (1962, John Ford)
Even though Ford made one more western after it, this film was to him what Once upon a Time in the West was to Sergio Leone: a goodbye to the genre, glorifying and demystifying it at the same time. The film probably is most famous for the line spoken by the local newspaper man who has learned who shot Liberty Valence in reality: āWhen the legend becomes fact, print the legendā. This seems a unconditional glorification of western myths, but by explaining how one of them was constructed, the mythology is demystified.
The man from the title, so the man who shot the famous Liberty Valence, is senator Stoddard (James Stewart). He came to the town of Shinbone years ago as a young lawyer to tame the frontier, not with a six-shooter, but with his law books. He did tame the frontier, or at least the town of Shinbone, but not with his law books alone. The legend that boosted his political career, says that he miraculously beat the bandit in a duel. Now he has come back for the funeral of the nobody Tom Doniphon (John Wayne). In one long flashback the story is unfolded. We watch the events that lead to that crucial confrontation between Stoddard and Valence, and learn the facts behind the legend.
Fordās West was above all the frontier, with the cavalry fort as a save haven for family life. But in Liberty Valence the frontier is about to close, and life takes place more and more within the borders of the western town. In key moments life is still dominated by Old West icons like the noble gunman (Wayne) who stands up for law and order, and the bandit (Marvin), paid by landowners to defend their privileges against the newcomers. But Wayne is starting to feel awkward in a town in which people dress up when they go out on Saturday night, so heās building a frontier house in no manās land to recreate his lost paradise, and Marvin is more an alcoholic troublemaker than a real bandit, who cannot understand how newspapers and law books dare to question the authority of his gun and whip. In a western set in the Old West, Wayne and Marvin wouldāve met in the townās street to shoot it out. But in the New West, banditry will meet with written law, and Wayne can only interfere in the conflict by giving up his personal code of honour (and his bride to be!), so the town and its people can go on, and their future representative, Stoddard, can complete his civilizing job.
Ford decided to shoot the film in black & white, and nearly completely on sound stages, which emphasises the claustrophobic nature of the narrative. But for this reason the film is devoid of the gloriously looking landscapes that had served Fordās westerns so well over the years. As a result it may look a bit too static to some. Some supporting characters, offering comic relief, get too much head room. OāBrien overplays his part as the shouting, alcoholic newspaper man, and Devine is a real nuisance as the cowardly, permanently hungry Marshal who talks with a high, high voice, as if he had been emasculated prior to the movie. But the trio of stars is wonderful. The Duke gives a rather restrained performance as the gunman who nearly has outlived his time, and although Stewart tends to rely a bit too much on the antics he often showed in his long career, itās impossible to imagine somebody else in the part. Marvin was criticised, for being not menacing enough as the filmās villain, but as I already pointed out, like Wayneās character Liberty Valence is about to become obsolete, heās a man who no longer feels at ease in the world heās living in, so heās not supposed to be too menacing. Moreover his reputation has been blown up, like Stoddardās. This was nicely illustrated in the Bacharach-David title song, that sadly didnāt make it to the movie, in which Liberty Valence is portrayed as one of the Westās great bandits and the man who shot him is called āthe bravest of them allā. Now compare the lyrics of this song with the bleak, anti-heroic conclusion of the movie.
This is essential viewing for every western scholar. Itās the conclusion of an era and a prelude on things to come: the deconstruction of the western myth and the dying of the West would take over the genre - in a more radical way than Ford had ever dreamed of - in the works of the two directors who would inherit his crown: Sergio Leone and Sam Peckinpah. Maybe it wasnāt just coincidence that Liberty Valenceās henchmen were played by Strother Martin and Lee van Cleef.
The Deadly Trackersā¦ with Richard Harris as a US-sheriff on-the-trail of Rod Taylor and Neville Brand in Mexico. -All tracked by a Mexican-sheriff; Al Lettieri, amidst great Mexican outdoor-locations. Itās basically a ārevenge/chase-filmā and the locations make the film work better than it shouldāve. The ending, with Harris being temporarily blinded, is too dramatic. Iād recommend it, since itās written by Sam Fuller. Brandās Laredo co-star; William Smith has one of his baddest roles everā¦ as a psycho named, Schoolboy. -Might be the best acting-performance in the film.
I was inspired to watch The Man Who Shot Liberty Valance. Iām sure sherp has said most things worth saying, but yeah, itās a deserving classic.
The more I watch of Wayneās best fims, the more respect I have for him in playing these kinds of unsung hero roles. Thereās a real sense of tragedy about him in films like this, True Grit and The Searchers. He seems to end up beloved yet so alone. Itās such a masculine thing as well; the way he sucks it up and keeps his reserve. I donāt know how best to explain it, but I canāt think of any other actor who has filled this same acting niche.
i came across a comedy western 4 for Texas
with Frank Sinatra and Dean Martin
and two ladies Anita Ekberg and Ursula A.
didnĀ“t know about whatĀ“s going on in it, i was little surprised by the locations
nothing like classic dusty western town in this spectacle, but quite a growing bigger city with all the ornate ladies and men with manners
i also liked the idea of a big steamboat - so i have to look around for some westerns that take place on a steamboat, that could be interesting
[quote=ātomas, post:8930, topic:141ā]i came across a comedy western 4 for Texas
with Frank Sinatra and Dean Martin
and two ladies Anita Ekberg and Ursula A.
didnĀ“t know about whatĀ“s going on in it, i was little surprised by the locations
nothing like classic dusty western town in this spectacle, but quite a growing bigger city with all the ornate ladies and men with manners
i also liked the idea of a big steamboat - so i have to look around for some westerns that take place on a steamboat, that could be interesting[/quote]
I kind-of like the film, even though it perpetuates the myth of Houston-and-Galveston being āsurroundedā by mountains. The story moves-along quite well and the character-dynamics are great. Charles Bronson is on-hand to provide a deadly edgeā¦
I canāt think of any westerns where a steamboat figures as a prominent story-tool. -Just various ones where scenes are played-out on them. A non-western; Around The World In 80-Days, maybeā¦ Herzogās Fitzcarraldoā¦ A western like Donnerās Maverick basically treats the boat like linear hotel-scenes.
In the middle part of Bend of the River are Steamboat scenes. But I donāt remember a western set nearly completely on a steamboat. But Iām sure there are some.
yeah, i also think there must be a few out there (well, Django 2 Il Grande Ritorno is with a riverboat) -
the subgenre riverboat western has yet to be examined 
i also like when westerns take place on the train, so i quite liked Breakheart Pass with Bronson - crime/western with superb atmosphere
McCabe and Mrs.Miller (1971)
i really liked AltmanĀ“s The Long Goodbye so i was looking forward to watching this unusual western.
Warren Beatty delivered a great performance in this snowy tale about unconventional romantic relationship
in the backround of whorehouse business - all depicted with realistic touch in a bleak, but also peculiar village/town, surrounded by woods.
Overall mood reminded me of another western - The Claim (2000), which also takes place in similar locations.
tuesdays are spaghetti western evenings on one of Slovak Tv stations, and tonight it was
Revenge of Trinity by Mario Camus
well, it was quite a decent flick, not very action, some minor shootouts, interesting locations of some Spain backcountry
and it is of course a drama, thanksgod - slapstick, or even bar brawl scenes didnĀ“t appear
Terence Hill had his raggedy colizzi gunslinger look, for which iĀ“m also thankful
well, he wasnĀ“t so raggedy, butā¦
anyways, i was expecting some little zappata action at the end, but nothing like that happened.
(and if did, probably it would spoil overall mood)
i was little surprised by the ending, very touchy
so, a watchable film, more a backcountry political (almost mafia) drama than spaghetti - but with stupid title, well
Cowboys and Aliens (Favreau / 2011)
Wanted to see this one since I saw the trailer a while back so thought Iād take advantage of the cheap tuesday ticket prices at our local multiplex. Arrived with the family and the foyer was packed with teenagers. My heart sank as Iāve had bad experience recently with teenagers who donāt know how to behave in cinemas. But thankfully, it turned out they were all there to see the new Inbetweeners movie. 
So our theatre was half empty and much better for it.
The film itself was perfectly fine but I was a bit surprised as all the talk of genre hybrid had focused on the western / sci-fi thing and, in reality, this is a horror film first and foremost. Yes, itās set in the west but it is a horror set in the west in the same way that Alien is a horror film set in space. The aliens here are equally sticky and nasty in a pseudo homo sapien insecty kind of way and there were a couple of very creepy scenes and lots of blue blood oozing alien gore interspersed with even more running around (on horseback and on foot), shooting and blowing stuff up. In fact, it seemed like they were trying to cram everything they could into this one. Action, horror, western, Sci-fiā¦you name it, itās in there. And taking it as that, for the most part, it works well enough on all fronts. There are some gaping plot holes but that is really irrelevant in this kind of picture. Iām not a big CGI fan but the effects work pretty well here I thought and, overall, I enjoyed it.
My only real beef was that, for some reason I canāt quite put my finger on, it didnāt look like a western visually. There were hats and horses and guns and stuff of course but I donāt mean in that way. It somehow lacked the right āfeelā visually for a western. It may have been the ādigitalā look to it. Iām not sure. It also could have used a warmer palette. But I think these things were considerations that were made in favour of matching the dark and ominous ambience required for the alien horror aspect of the film and, as a result, the bright, big sky character of the western was given up. Consequently, for me anyway, it doesnāt really work as a western. Iād be interested to hear what others who have seen it think though.
another western from CorbucciĀ“s filmography has been seen -
Sonny and Jed
and i liked it a lot - great performances by Milian and Susan George and great swearing scenes
some minor flaws appeared, but nothing serious
i also watched another movie with Milian at that time (or segment of that movie) Boccaccio 70, so it was funny to see
him smoothly shaved and cut as a contrast to his bandit roles
now, from CorbucciĀ“s westerns remained these flicks unseen - Hellbenders, Johny Oro, Minnesotta Clay, White, Yellow, Black,
What am i doing in the middle of the revolution and Grand Canyon Massacre
well, he could make more westerns
[quote=ātomas, post:8937, topic:141ā]another western from CorbucciĀ“s filmography has been seen -
Sonny and Jed[/quote]
Fuckinā good film!
Or fuckin awful ?
Itās in the fuckinā middle