Twilight? spaghettis

Can anyone help me with this?
Apart from Keoma and Mannaja was there any more of these sort of gothic Italian westerns made?

django the bastard django kill… 4 for apocalyspe matalo death played the flute. these may have what you seek.


Johnny Hamlet has some Gothic aspects to it. Not a typical SW, it is actualy an adaptation of Shakespeare’s Hamlet. Blood at Sundown aka One Thousand Dollars on the Black has an old woman in a Norman Bates type house which gives a Gothic element to the film.

What about “And God said to Cain” ? No real twilight stuff, but kinda atmosphere…

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Maybee Django Kill also?

heres some more strange and gothic themed spaghettis
more dollars for mcgreggors
requiem for a gringo
tails you loose
wanted johnny texas

Are we mixing up gothic themes and twilight era spaghettis? Not sure if there’s agreement over what we mean by twilight, the twilight era of the genre when it was on its way out starting in the 70s, or twilight meaning an eerie atmosphere and style maybe?

Edit: @korano wrote a cool article some time ago

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For me, the term twilight in this context refers to the end of the cycle rather than any gothic themes. There were plenty of those while the genre was in full flow. But twilight spags for me are those made in the mid to late seventies when there is an air of decay running through them. Often seen through the dilapidated and collapsing western town sets they were shot in.
Others may disagree of course


Not me that’s the way I’ve always seen it. I think it is fitting though that California, Four of…, Keoma and Mannaja are the way they are aesthetically.


Forgot to add

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There is a number of pre-1975 spags that exhibit certain “twilight” sensibilities so to speak, but I would not include any of those anyways. It is predominantly about aesthetics such as heavy use of slow-mo scenes, alternative soundtracks, bleary cinematography with foggy exteriors etc. These are the only ones I would count specifically as twilight:

  • Four of the Apocalypse (Lucio Fulci, 1975)
  • Keoma (Enzo G. Castellari, 1976)
  • Mannaja (Sergio Martino, 1977)
  • California (Michele Lupo, 1977)
  • El Macho (Marcello Andrei, 1977)

The latter is often omitted, but to my way of thinking, it definitely fits in that category and displays all the necessary characteristics. Not quite as good as the other four, but pretty interesting in its own way. I guess you could also include Silver Saddle (Lucio Fulci, 1978), but I haven’t seen that one in a long time and I don’t remember just how “twilight” it is.