Tag Archives: Movies

Movie Rip-Offs : A User’s Guide – Turkish Remakesploitation

Wonderful introduction to the world of Turkish exploitation cinema. There is a decent amount of information about Turkish westerns. Turkish westerns are nuts . . . I mean, they are completely insane. Just like the Italian filmmakers of the time, copyright was not a major issue . . . but the Turkish filmmakers took pirating to a new extreme. Their movies are typically very tongue and cheek. At first they seem just weird, but after watching a few I have started to get into them a little bit. Too few have subtitles for English speakers, though I think that there is a growing community of fan subbers dedicated to making these movies more accessible to the English-speaking world. Great blog post!

Physical Impossibility

Many thanks once again to Gokay Gelgec of the Sinematik website and Bill Barounis of Onar Films for invaluable background information on these films and the culture they were made in. Wherever possible, I’ve referred to the best-presented and ‘official’ versions of these films available.

Cüneyt Arkin’s spaceship manifests from one frame to the next in “Turkish Star Wars”, Dünyayı Kurtaran Adam (Çetin Inanç, 1982)

Dünyayı Kurtaran Adam AKA The Man Who Saved The World (Çetin Inanç, 1982) doesn’t make it too far past the endearingly handmade titles before it demonstrates the elements that gave it its better-known title, “Turkish Star Wars”. Edited into new Turkish scenes are newsreel clips of NASA rocket launches, instantly recognisable shots from Star Wars Episode IV: A New Hope (chopped from a print in a different aspect ratio from the rest of the Inanç‘s film – making the Death Star an odd shape), and identifiable footage from Sodom…

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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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Simon Abrams “After ‘Django’ came ‘The Great Silence,’ a spaghetti western about bounty killers in Utah”

After 'Django' came 'The Great Silence,' a spaghetti western about bounty killers in Utah   Capital New York

At Captial New York, Simon Abrams wrote a piece lauding Corbucci’s second movie in what you might call the “Django series.” Sergio Corbucci had a habit of remaking the same movie over and over if it were successful. After Django (1966), he essentially made two variations on the plot/character/theme in The Great Silence (1968) and The Specialist (1969). 

Abrams writes:

The Great Silence is an atypical spaghetti western in the sense that Corbucci doesn’t emphasize black humor and surreally sadistic scenes of violence as much as he does in a film like Django. . . 

. . .The Great Silence is an unconventional spaghetti western that takes place, as an intertitle imperiously announces, one “Winter [in] 1899,” in Snowhill, Utah. This is, in other words, a film set in a specific historical moment. And yet it has no more respect for rules than any other spaghetti western: Amorality and a fatalistic air of pessimism dominate Corbucci’s film. . . 

. . . The Great Silence stands up as well as it does today because it takes that intense cynicism we’ve come to associate with the spaghetti western and given it a new context. Tarantino would do well to draw on as much of that sort of innovation as he can.

However, Abrams misses the point when he writes that in The Great Silence “Corbucci doesn’t emphasize black humor and surreally sadistic scenes of violence as much as he does in a film like Django”. The Great Silence plays as though it is an intense, serious, cynical tragedy. And, in some ways, it is. . . almost. When you look at Corbucci’s entire oeuvre, you will find that he makes irreverent burlesques of the Western genre that almost verge on spoofs. He is always putting the audience on. In fact, that is what I think that is going in The Great Silence. I will not ruin the experience with spoilers, but I will ask to think about what Corbucci is actually up to after the impact of the movie passes over you. 

In a future podcast, I will cover the movies of Corbucci. It may be awhile, however, as I have a lot of topic I would love to talk about.

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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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Edd ‘Kookie’ Byrnes at Memphis Film Festival

Edd Byrnes

Toughest, ‘ginchiest’ stars come out to celebrate Westerns at Memphis Film Festival by John Beifus, The Commerical Appeal

Cool information about the career of Edd Byrnes. It would appear he followed Eastwood and Burt Reynolds to Italy to try and break out of popular TV shows and into film. Edd Byrnes starred in a number of notable Spaghetti Westerns, including Any Gun Can Play7 Winchesters for a Massacre, and Red Blood Yellow Gold.

Edd Byrnes, 80, was a slang-spouting, hair-combing hipster known as “Kookie” from 1958-1963 on the ABC private-detective series “77 Sunset Strip.”

A predecessor to “the Fonz,” Kookie became a cultural phenomenon. In 1959, Byrnes and Connie Stevens recorded a hit novelty single, “Kookie, Kookie (Lend Me Your Comb),” and fans emulated the character’s jive jargon. “I’m so far out I’m, like, still orbiting,” said Kookie, whose synonyms for “very good” included “ginchy” and “the maximum utmost.”

“Writers wrote all the jive talk and all the stuff I used to say,” Byrnes said. “It was all news to me; it was foreign to me. When the record with Connie Stevens came about, I said, ‘I’m not a singer,’ and they said, ‘You’re gonna talk-sing, like Rex Harrison.'” . . .

. . . Both Conrad and Byrnes have struggled with alcohol during their careers, but both men say they no longer have “smog on the noggin,” to quote one of Kookie’s lines.

Byrnes arrived in Hollywood on Sept. 30, 1955, the same day James Dean died in a car wreck, but he said the date did not prove to be a bad omen in a busy career that enabled him to work with such directors as William Wellman (“Darby’s Ranger”) and Roger Corman (“The Secret Invasion”), and that brought him a burst of renewed fame in 1978 when he was cast as Vince Fontaine in the musical “Grease.”

“My son always reminds me, ‘You drove out to California, you had $300, you were a high-school dropout.’ For a guy like that, I’ve been blessed.”

 

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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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Payment in Blood (Suite)

Francesco de Masi

Francesco de Masi

Francesco de Masi

Francesco de Masi

Enjoyable Francesco de Masi score from Enzo Castellari’s first, fun 1967 spaghetti western Payment in Blood aka 7 Winchesters For A Massacre.

Valdez244 does some nice ‘suites’ of numerous film scores, putting alot of work into his Youtube videos.

Sette+Winchester+per+un+Massacro+front Francesco De Masi - 7 Winchester Per Un Massacro - Front

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What does ‘laughably weird’ even mean?: A few notes about “THE MOST LAUGHABLY WEIRD SPAGHETTI WESTERNS”

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In Anthropology, there is a concept called ethnocentrism, which essentially means judging the norms and conventions of another culture by one’s own. This is a problem because it typically leads people to judge what they looking at superficially. If someone if trying to understand something, like an Anthropologist in the field, they need to be willing to look at it on its own terms. In terms of cultural experience, this attitude limits your ability to grow.

I was thinking about ethnocentrism when I recently came across a post at Balladeer’s Blog titled “The Most Laughably Weird Spaghetti Westerns.” If we generalize the concept of ethnocentrism, it is applicable to this strange list.

The first issue is the title. What does it mean for something to be ‘laughably weird’? Usually, you hear of movies being referred to as ‘laughably bad’, not ‘laughably weird.’ A quick look at this list finds a strange mixture of films. There are some bad films: White Comanche, Kung Fu Brothers in the Wild West, Bad Kids of the West, Dynamite Joe, and Jesse James’ Kid. Only the first three really verge into ‘laughably bad’ territory. What is odd about the list is the inclusion of some good films: Django Kill!, The Price of Power, John the Bastard, Blindman, and Johnny Hamlet.

This strange idea of the ‘laughably strange’ and the odd mixture of films in the list leads me to this conclusion. ‘Laughably weird’ means that the Balladeer didn’t ‘get it.’ He was nonplussed. What he was watching was coming from outside his cultural frame of reference. Cultural signifiers – meaningful symbols, emotions, events, or ideas — were used in ways that he couldn’t follow. The strange juxtapositions provoked laughter, the same way they would if he were watching a bad movie.

In other words, the Balladeer exhibited a bit of ethnocentrism.

Regarding his criticisms of the particular films:

1) Django Kill (1967) His criticism seems to boil down to the fact that the film contains a series of extreme and strange elements. To this, I would point out that the movie is (1) based on the director’s experiences as a partisan (guerilla opposed to the fascist) in the surreal final days of WWII in Italy and (2) it is carnivalesque like most Eurowesterns. Carnivalesque refers to a perspective on life in which the world is turned upside-down, the body is celebrated in all its grossness, and atrocity merges into laughter. Conclusion: I don’t think Balladeer knew what he was looking at.

2)The Price of Power (1969) The criticism of this movie is based in its ‘pretentiousness’ and historical inaccuracy. I would contend that the movie is only ‘pretentious’ in that it is trying to reach the epic scope of Sergio Leone’s Once Upon A Time In The West . . . and it largely fails. What results is melodrama. That said, this film has great cinematography and a wonderful score. And, at its heart, it is an expansion on the mentor/apprentice or father/son dynamic of Tonino Valerii and Giuliano Gemma’s earlier classic Day of Anger (1967). At that level, this film works. Conclusion:  The Balladeer probably got caught up in the perceived absurdity of the assassination conspiracy plot and the melodrama about racism. However, he missed the solid b-movie underneath.

3 and 4) Bad Kids of the West (1967) and Jesse James Kid (1966) Yeah, these are not good movies. But are they actually weird? Bad Kids of the West was intended for children and numerous movies have tried to cast children as adults for comic effect. So does that make it weird or just part of a genre pitched at a particular audience? The weirdness of Jesse James Kid is, according to the Balladeer, the fact that Billy the Kid is Jesse James’ son in the story. But that is no more strange than the plotlines of numerous b-westerns, comic books, etc. Given the fact this movie is the equivalent of a 2-reel b-western from the 1930s, I don’t understand what makes this ‘weird’. Conclusion: Does the Balladeer know what the word ‘weird’ means colloquially?

5 and 9) John the Bastard (1967) and Johnny Hamlet (1968) The main complaint here is that Don Juan by Lord Byron and Hamlet by William Shakespeare were made as b-westerns. By this criteria, I guess it is equally weird that Macbeth and King Lear were remade as samurai movies in Throne of Blood and Ran. Were Kurosawa’s films laughably weird? Johnny Hamlet is very good acid-western that doesn’t take itself too seriously. John the Bastard also has a sense of humor about itself and is decent, though hurt by its shoe-string budget. Conclusion: The Balladeer is struggling with the meaning of the word ‘weird.’ He seems to have missed the irreverence of these films for their source material.

7) Blindman (1971) I don’t even know why this is on the list. The movie is no more weird than the Zatoichi (The Blind Swordsman) movies on which it is based. It was relatively well-financed and well-made. As a quibble, the Balladeer states that there were numerous spaghetti westerns made based on the Zatoichi movies . . . no, there was only this one. There was an American made TV movie called Blind Justice made in the 1990s as well as a few American action movies in the 1980s. But no other spaghetti westerns. Conclusion: This is no weirder than much of popular culture. Is the Balladeer sneering at popular culture in general?

6, 8, and 10) Dynamite Joe (1966), Kung Fu Brothers of the Wild West (1973), and White Commanche (1967) are all bad movies. Outside of the over-the-top theme song to Dynamite Joe and the over-the-top Shatner in White Commanche, these are just typical lower rung b-movies. Conclusion: The Balladeer gets off on pointing out the obviously bad.

In the end, this is my reaction to “The Most Laughably Bad Spaghetti Westerns”: The author is like a kid in the playground who gets attention by making fun of another kid with goofy clothes, thick glasses, and a strange accent. As a critic, the Balladeer points out obvious defects in films, some of which are good and others transparently bad, then sneers and makes snarky comments for his audience. There is no insight. There is such an obvious question that he misses. If genres like Eurowesterns or blaxplotiation strike contemporary viewers as being so strange and bad, why do they even exist? Why were they so popular? Were there audience just inferior in some way? Lets start with a different assumption: The audiences for these films weren’t ‘inferior’ and these movies had meaning for the audience in some way. Trying to grapple with this forces the critical viewer to move beyond themselves and view the movies a little differently. What Balladeer is doing the worst, most uninteresting and superficial type of film criticism (of course, its really just clickbait). It seems that the point of this sort of film writing is for the author to ‘demonstrate’ that they are, in some sense, superior to the audiences for these films.

To say that something is ‘laughably weird’ is to admit that you didn’t get it. I suppose that this would be the Balladeer’s response to silent films, Kabuki theater, or Chinese opera. If he doesn’t understand the conventions and symbolic universe of the art form, that makes the genre of performance “bad”. This sounds a bit like that concept of ethnocentrism that I started with.

Korano provides a much more interesting short list at the Spaghetti Western Database: Spaghetti Western Oddities.

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