The Seven from Texas / Antes llega la muerte (Joaquín Luis Romero Marchent, 1964)

[Admin (Sebastian)]

Finally saw this one. Pretty solid early spaghetti with an all around great cast

[Bill_Willer]

Recently watched this and Gunfight at High Noon for the first time. Liked them both a lot which surprised me because I hated Cut Throats Nine.

[LankyGringo (Brian)]

As far as Marchent is concerned, Cut Throats Nine is the exception and not the rule though I do like that one as well.

[Bill_Willer]

It was definitely different It was probably six or seven years ago I watched it though so it might be worth giving another chance. My opinion of certain spags has changed for the better (occasionally massively) on a second viewing.

[Admin (Sebastian)]

Getting another release in March, do @Djangoisme and @Tom_B get due compensation for their booklets being republished once more, I wonder? I hope so.

[QuickDraw (Lewis)]

New poll for The Seven From Texas, at the top of the page under the original post!

Needs a new database page as well @Admin I’ve linked it at the top.

[Admin (Sebastian)]

This movie’s page in the database has been updated to the new format. We could use some better posters and pictures, and more of them. Let us know if any corrections are in order. We welcome links, articles, reviews, facts, figures and other info to make this page more informative.

[Mickey13]

Copied from the Spagvemberfest 2024 thread:

@Mickey13

Despite having been fashioned after its contemporary American counterparts, Marchent’s oater turns out intriguing just the same by reason of its extensive characterization and generally sound writing all around. Film’s biggest strength undoubtedly dwells in the fact that all characters are endued with their own personal quirks and idiosyncrasies which entails that all of them prove quite memorable and three-dimensional. Regardless of whether one speaks of the gunslinging ex-convict, the vengeful man seeking revenge upon the former for his brother’s untimely demise, the Chinese comic relief character or the troublemaker acted by Sancho, they all feel meaningfully developed here; suffice to say, the whole yarn is properly fleshed out and makes for an immersive viewing experience even if it is of the decidedly corny, old-fashioned kind. Narration’s multifaceted nature is further bolstered by adequate focus and dexterity wherewith Marchent weaves both of the predominant narrative strands: one of them deals with Hundar’s quest for justice, whereas the other portrays husband’s endeavor to secure treatment for his ill wife who has an operable brain tumor. Though tale’s focus initially seems somewhat diffuse and faltering, it all subsequently improves the moment both of the primary plotlines converge, ultimately adding up to one gripping storyline.

[gladdenf (Michael)]

Credits page has been created for Antes llega la muerte (The Seven From Texas)