Tag Archives: Eurowestern

Spaghetti Western Theater: Finger on the Trigger (1965)

Synopsis from Spaghetti Western Database:

A group of ex-Union soldiers, trekking towards New Mexico to set up new homesteads, come across a band of Confederate soldiers waiting in ambush for a troop of Union soldiers in pursuit of $10 million in hidden Confederate gold. The Union soldiers, pursued by hostile Indians are trapped in the ghost town where the gold is buried where they must decide to fight off the marauding Indians. Routine western produced in Spain.

Nothing revolutionary, but I enjoyed this film. The Youtube version is pretty poor, but it is a free way to see this film. I believe that it is also available on some of those multi-film DVD packs that sell for under $15.00 US on Amazon.com.

The movie is interesting because it is made by Producer/Director Sidney W. Pink. Here is the beginning of his entry at Wikipedia:

Sidney W. Pink (March 16, 1916 – October 12, 2002) was an American movie producer and occasional director. He has been called the father of feature-length 3-D movies. He is also noted for producing early spaghetti westerns and low-budget science-fiction films, and for his role in actor Dustin Hoffman‘s transition from stage to screen.

Sidney Pink was similar to Albert Band in the early role he played in the Eurowestern genre. His movies are very traditional. He came to Spain to make low budget westerns with American actors. However, he did work with European production companies and talent.

El Dedo en el gatillo (1965) 2

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Tom McCormack on “Dziga Amuck: Daffy Duck and the French New Wave’s Marxist Spaghetti Western”

the wind from the east

 

Interesting piece by Tom McCormack of The L Magazine titled “Dziga Amuck: Daffy Duck and the French New Wave’s Marxist Spaghetti Western”

Wind from the East is, like Amuck, Farberian, Brechtian and Greenbergian, by turns. Writing in the New York Times when the film had its stateside premiere, critic Vincent Canby summed up the movie’s disorienting formal strategies by writing that “consequences precede actions and effects give birth to their causes.”

Wind was made as Godard and Jean-Pierre Gorin were still riding their high from May ’68, and the idea for the film was given by a leading light of ’68, Daniel Cohn-Bendit. Cohn-Bendit’s original concept was more of a standard Western—accounts make it sound something like High Noon for hardcore Althusserians. What Godard and Gorin ended up making is rivaled in its genre revisionism only by Andy Warhol’s Lonesome Cowboys. Stunning tableaus are set to didactic pontifications regarding the nature of class struggle. Anne Wiazemsky, Godard’s wife, an actor in the film, and the one who got Godard and Gorin in touch with Cohn-Bendit, had reservations about Wind’s political efficacy. Viewers today might feel something similar—one can almost laugh when the voice-over declares, “don’t represent the problem abstractly,” since that seems to be precisely what the film is doing.

But it’s become easy, and fashionable, to dismiss this era of Godard and Gorin’s work. They were, after all, plotting a revolution that never came about. But one should keep in mind that their revolutionary antics were inspired by the tidal events of ’68, and Wind is really an attempt to make sense of and come to terms with that very real and very concrete instance of workers’ unrest and bourgeois resentment. In that sense, the film might still be very relevant. In an age when Sarah Palin can hijack the rhetoric of solidarity to perversely say that “We are all Arizonans”—when she’s actually talking about the exact opposite of that sentiment—it could be a balm to remember the signs that were carried around during May ’68: “We are all undesirables,” “We are all German Jews.”

I have to admit that I HATE Wind from the East. In fact, I consider it to bad exploitation cinema for late 1960s, quasi-intellectual Utopians. It is full of garbled Marxist platitudes, lacks any sort of coherent flow, and its inversions of the western are unimaginative and obvious . . .  lets just say that Sergio Corbucci (at his best, 1966-1968) turns out to be a more brilliant filmmaker than Godard. But its greatest sin is how it exposes its actors and director. The film is exactly what it looks like: a group of pretentious, preaching, prancing youth out for a picnic. Compared with A Bullet For The General, this is self-indulgent child’s play. In other words, this movie insulted me. I have watched all of Demofilo Fidani’s, Gianni Crea’s, and Franco Lattanzi’s films and not felt insulted . . . both those directors and the audience (in this case, me) know what these movies are all about. Being bad is alright. Being pretentious and bad is not. Eventually, I will review the film on the podcast. As of now, I would give it a rating of 2 of 10.

 

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Weaving authenticity and meaning in genre film: “SHOOTING ‘SIX BULLETS TO HELL’ IN ALMERIA’

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Danny Garcia had an interesting post late last year over at his A Spaniard In The Workz blog. In it, he briefly wrote about wrapping up shooting on a low budget western titled ‘Six Bullets To Hell’. He wrote:

They said we were crazy. And yes, it was hot, it was dusty, it was real hard work but it was also great fun to shoot a real Spaghetti Western with a bunch of great actors and a great crew right in the middle of July AND right in the hottest spot of Spain: the desert of Tabernas in Almería

Almería had been the European Hollywood in the 60’s and 70’s, a good number of films where shot in that area of Spain every year. Fifty years ago, there’d be a couple of movies shot there everyday. Everybody in the small town of Tabernas would be somehow involved in the productions: the shops, the restaurants, horse wranglers, drivers, electricians, carpenters, extras, etc.

The great Frank Braña (R.I.P.), who worked in Almería hundreds of times (even with the Master Sergio Leone in all his westerns) told me there wasn’t a single hotel in Almería when they started shooting there in 1964. The cinema industry helped that city grow big time. . .

. . . As fans of the old Spaghetti Westerns, this was the perfect chance for all of us to shoot in legendary sets like the Oasys (aka MiniHollywood), Sergio Leone’s set, the very same set he built with Carlo Simi in 1965 for For a Few Dollars More (and was also used in classics like The Good, the Bad and the Ugly, Hannie Caulder, Doc, etc) and also at Fort Bravo, where Ringo Starr did Blindman and where greats like Lee Van Cleef, Jack Palance or Charles Bronson starred in great westerns like Death Rides a Horse, Chato’s Land, etc. So we were literally standing on the footsteps of giants.

What stuck me as I read this was how it showed just how profoundly the Italian westerns of the 1960s-70s completely transmuted the Western genre. The term ‘Spaghetti western’ was coined by American film critics that wanted to mark out these Italian films as cheap knock-offs and fakes. In fact, this is how the Italian filmmakers initially viewed them as well. Look at how the names of directors and actors were changed in order to fool Italian audiences into believing that these were American productions. The most famously example is, of course, Sergio Leone appearing under the alias ‘Bob Robertson’ in the opening credits for Fistful of Dollars (1964) (an alias that actually goes back to his director father and the silent film era).

After Leone had the resources to make big budget productions, he made an interesting choice. He planned on shooting much of his masterpiece Once Upon A Time In The West (1968) in the ‘real West,’ Monument Valley, Arizona. Of course, this was John Ford country. Here, the legendary American director had filmed many of his most iconic Westerns. In deciding to film there, Leone was creating a link with these places, locations, and films. From them, he was gaining something . . . authenticity.

However, after the economic, artistic, and cultural success of Leone and other European filmmakers in remaking the Western from Italian, Spanish, or German perspective things changed. Today, when young filmmakers want to give their films a link to the classic cinematic images and experiences of the past, they don’t travel to John Ford country. They travel to Leone country, the Almerian desert in Spain. In his blog post, Danny Garcia promotes his film by focusing on the locations and actors that provide a link to the Eurowestern boom of the 1960s.

As Chritopher Frayling points out in this great biography of Sergio Leone: Something To Do With DeathLeone inverted the situations and rhetoric of the Hollywood Western to create new and interesting effects. Perhaps this is the ultimately the most interesting inversion that he accomplished.

 

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Kevin Phipps at AV Club on Spaghetti Westerns for the unitiated

Spaghetti Westerns · Gateways To Geekery · The A.V. Club

 

Good introduction to the genre by Kevin Phipps. 

Pop culture can be as forbidding as it is inviting, particularly in areas that invite geeky obsession: The more devotion a genre or series or subculture inspires, the easier it is for the uninitiated to feel like they’re on the outside looking in. But geeks aren’t born; they’re made. And sometimes it only takes the right starting point to bring newbies into various intimidatingly vast obsessions. Gateways To Geekery is our regular attempt to help those who want to be enthralled, but aren’t sure where to start. . .

. . .Geek obsession: Spaghetti Westerns

Why it’s daunting: Europe’s fascination with the American West dates back to before the Old West could rightly be called old. German author Karl May began writing about the Native American hero Winnetou and his German blood brother Old Shatterhand in the 1890s, and his stories seeped into the water of European popular fiction and inspired several films from the 1920s through the 1960s. So it wasn’t that odd, really, that Italian director Sergio Leone would decide to shoot a Western in Europe: It had been done before. But the 1964 release of A Fistful Of Dollars, starring minor U.S. television star Clint Eastwood, started a deluge of European Westerns. They quickly came to be known as spaghetti Westerns, thanks to Leone and the number of Italian directors making them, but they were often European co-productions shot in southern Spain with casts drawn from across Europe and the United States. Between 1964 and 1976, hundreds of spaghetti Westerns saw the light of day. As with any vibrant genre, the quality varies greatly from film to film. Furthermore, Leone’s work tends to overshadow his contemporaries’, meaning a lot of good-to-great movies tend to get overlooked by those who stick with the master.

 

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“Vincenzoni was known as a spaghetti western scribe, to his chagrin”

RIP Vincenzoni

“Vincenzoni was known as a spaghetti western scribe, to his chagrin”

Co-writer of For A few Dollars More and The Good, The Bad, And The Ugly. From a syndicated New York Times column from last year, whenVincenzoni died.

Luciano Vincenzoni, an urbane Italian screenwriter who worked with Billy Wilder, Dino De Laurentiis and other giants of film but to his dismay was best known for writing two spaghetti westerns starring a young Clint Eastwood, died Sunday in Rome. He was 87.

The cause was cancer, said Federico Vincenzoni, a grandson.

Vincenzoni contributed to about 70 films, chiefly as a screenwriter or script doctor. His humorous touch could be found in films like “Seduced and Abandoned,” which he made with Pietro Germi in 1964, and “The Best of Enemies,” which De Laurentiis, the producer, released in the United States in 1962.

But to the general public Vincenzoni was most associated with “For a Few Dollars More” and “The Good, the Bad and the Ugly,” two hugely successful Italian-made westerns directed by Sergio Leone that are now recognized as classics.

“I have written movies that won prizes at Cannes and Venice,” he told Sir Christopher Frayling, a cultural historian and Leone biographer. “These were screenplays for which we suffered on paper for months. Do you know how long it took me to write ‘For a Few Dollars More’? Nine days.”

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Swide’s Valentina Zannoi on “Giuliano Gemma: Spaghetti Westerns’ Angel Face”

swide

Nice, short introduction to the films of Gemma.

Born in 1938, Giuliano Gemma began his acting career as a stuntman due to his physical prowess. His talent as an actor and his leading man looks though did not go unnoticed, and director Dino Risi first offered him a speaking part next to Alberto Sordi in the critically acclaimed Venezia, la Luna e Tu in 1958.

Gemma’s real break however came in 1959 in an unaccredited role, he was cast as a centurion inWilliam Wyler’s Ben Hur. His looks, and physique then lead him to star in the ironic take on the mythological genre with Arrivano i Titani, (1962) which was a huge success both at home and abroad.

Taking a brief hiatus from the more action based movies, Gemma makes appearances in Visconti’sThe Leopard in 1963, and more from the franchise like Angelica and Angelica alla Corte del Re.

His real success and status as a heartthrob known worldwide was christened with the Spaghetti Western films, where he starred in many oeuvres directed by the biggest names like Duccio Tessari,Tonino Valerii and Sergio Corbucci.

Gemma interpreted over 100 films in his career and later in life moved towards the tv screen.

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Good review of Little Rita of the West . . .

. . . by Randy Johnson at Not The Baseball Pitcher.

 

Talk about your odd ball movies: a spaghetti western musical. Lots of songs, jokes, even some real spaghetti action. The idea behind it was to boost the career of Italian singer Rita Pavone. Little Rita was her actual nicknme. 4.89 feet tall and about 86 pounds. Boost her career? Since I never heard of this film until I stumbled across it on Youtube, probably not a lot. Possibly in Italy.

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