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Messages - O'Cangaceiro

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Other Films / 3 Bullets for a Long Gun
« on: January 30, 2012, 09:47:57 PM »


Lucky, the bandit, is about to be shot by firing squad, but he is saved in the last second by "The Major". The reason is that The Major needs one half of a treasure map kept by Lucky, as he already has the other half.

This is a rare South African western which contains many of the ingredients of the SWs. In fact, it is not difficult to see in this movie a poor copy of GBU. Lucky the Bandit tries to emulate Tuco and The Major plays a role similar to Blondie.

Even if this is not a SW, I think that most of the genre lovers will enjoy this film.

As far as I know, there is no DVD release, but there are a few VHS copies available at eBay.

I would give this one 6/10.

Other Films / The Relentless Four AKA I Quattro Inessorabili
« on: January 17, 2012, 06:18:46 PM »

An early SW filmed in Almeria that has all the ingredients of a classic American Western. I found it slow and painful to watch, as everything is predictable. A ranger from Tucson named Sam Garrett has a confrontation with some bounty killers who killed an outlaw who had been declared innocent of his crimes. The baddies kill a local rancher (Roberto Camardiel) and try to make it look like it was the ranger who did it. During the whole movie, the ranger will endeavour to prove his innocence. A little action here and there, but slow in gerneral (yawn!).

The cast includes a number of well-known SW actors like Roberto Camardiel, Chris Huerta, Claudio Undari, and Luis Incuni. The role of Sam Garrett is played by the American TV actor Adam West. The score by Marcello Giombini is nothing special, the title song being the best part of it despite being sang in English??? with an atrocious Italian accent.



This is a rare and unusual Eurowestern from director Volker Vogeler, starring William Berger as "Doc" Holliday and Geraldine Chaplin as Katie Elder. The cast includes other well-known Spaghetti-Western actors like Eduardo Fajardo, Tito García, and Frank Braña. Many of the movie scenes were filmed in Colmenar Viejo, nearby Madrid (Spain).

The story starts in Bavaria towards the end of the 19th Century, where five misfits are being deported due to a number of crimes they have committed. They sail towards America from the port of Bremen, seeking a better life. The started working in Nevada as labourers in a mining company, but afterwards they left the company while taking with them certain amount of money and becoming outlaws. They keep heading West and they kill an old indian named Bent Dog, whose horse they steal. They end in a place named Yanktown where the only jobs they can find is cleaning latrins, and they are constantly being harassed by the locals. Eventually, Doc Holliday convinces them to rob the local bank and steal $ 80,000.

This movie is not easy to find nowadays. I haven't found any DVDs around, but there is a Spanish TVRip on the Web with English subtitles. It is well-worth watching, even if just because of being such a rare film and ..... well, just have a look at Geraldine Chaplin in the poster.

A Fistful of Dollars / Re: pastures of plenty
« on: January 15, 2012, 05:52:16 PM »

As you see, this topic has been debated more than once in the past:

I hope the above threads answer most if not all of your questions.

There is a bootleg CD on the web with 35 tracks that contains both the "we can fight" and "with the wind" versions, plus Peter Tevis' version of Pastures of Plenty.

A Fistful of Dollars / Re: pastures of plenty
« on: January 15, 2012, 10:52:44 AM »
just listened to the FOD theme again, and I can say with 100% certainty that the lyrics on that version are NOT "With the Wind."

Since the words "With the Wind" are part of the Pastures of Plenty song, it makes sense there. But it makes no sense for FOD, so it was changed to something else; sounds something like "We Can Fight," but I am far from certain about that. What i am certain about is that in "Pastures of Plenty" it is "With the Wind," and in FOD it is NOT "With the Wind"

"We can fight" version

"With the wind" version

Other Films / Re: O'Cangaceiro (1953)
« on: November 02, 2011, 09:09:08 PM »
I really enjoy it. It's well-made with some nice cinematic flourishes and shot on location in Brazil. Milian plays his typical spaghetti western bandit on the loose character just this time in a very different cultural context. Apparently it has very little to do with the original which I've only seen clips of.

O' Cangaceiro (1953) from Lima Barreto is well worth watching. IT has been out of print for many years but there are ways of getting hold of a watchable copy with English subtitles  ;). It's one of my all-time favourites movies and I am patiently waiting for the Brazilians to put their act together and make a good restoration on DVD or Blu Ray.  8)

Other Films / Re: O'Cangaceiro (1953)
« on: November 02, 2011, 09:02:15 PM »
How is the Milian film BTW ?

I think you'll like it. Milian is as outrageous as usual and his acting is pretty good to say the least.

Other Films / Re: O'Cangaceiro (1953)
« on: November 01, 2011, 01:24:20 PM »
As one of the most famous Brazilian movies, you'd think someone would give it a nice re-release.

Yes, and hopefully it will happen at some point. It has already happened with some of Glauber Rocha's films such as Black God White Devil, Antonio das Mortes, Barravento, and Terra em Transe just to mention a few.

Other Films / Re: Seven Guns for the MacGregors (1965)
« on: August 15, 2011, 05:31:52 PM »
Nah. If he believes it he oughtn't modify his opinion to agree with everyone else.

Sure. Like everybody else, Mr. Frayling is entitled to his opinion. But when Il Maestro conducts a live performance be it in Chile, or in Spain, or in the US, or in Poland, or in Italy (you name it) and the theatres are full, perhaps there is something special in his music regardless of what one person's opinion may be. And let us remember that even today the biggest Morricone hits are still pre-1981 (Ecstasy of Gold, Once Upon a Time in the West, etc).

Like Frayling's, this is just my opinion.  :D ;)

Other Films / Re: Seven Guns for the MacGregors (1965)
« on: August 15, 2011, 10:31:13 AM »
He would probably not make such a statement today. In fact, if pressed, he might be willing to retract or modify the statement. Morricone's rep has skyrocketed since '81.

That would be the fair thing to do, IMO.

Other Films / Re: Four dollars for vengeance (1966)
« on: August 12, 2011, 02:41:28 PM »
This is the song (two different versions).

OK, never mind what I think they are singing. Than you for your interest (or lack thereof).

Other Films / Outlaw Justice (AKA The Long Kill) (1999)
« on: August 12, 2011, 12:13:21 PM »

A very watchable Eurowestern made in Almeria (Desert of Tabernas) for TV, with the participation of some veteran SW and AW actors. These include Willie Nelson, Kris Kristoffersson, Sancho Gracia, Simon Andreu, and there is even a very brief cameo of Aldo Sambrell around minute 5 of the movie. Tony Anthony gets credited in the movie as "Supervising Producer", but not so in the IMDB. The movie is directed by Bill Corcoran.

The soundtrack is a combination of American an SW styles, plus some Country songs performed by Willie Nelson and Travis Tritt. Not bad.

The plot of the movie is revenge (what else  could it be? ;) :D ). Holden (Sancho Gracia) spent 8 years in prison and he is now coming back to kill 3 of his former gang members. He manages to kill one of them (Tobey) and his son Bryce seeks revenge. He will get the unwanted (but necessary) of former gang members Lee Walker (Willie Nelson), Jesse Ray Torrance (Kris Kristoffersson) and Dalton (a former gang member turned sheriff). Holden has some sort of partnership with Mexican Col. Lupo (Simon Andreu) to help him to kill his former friends. However, those two (Holden and Lupo) hate each others' guts, which makes for a interesting partnership.

The movie has its good share of action, and even contains some hilarious scenes resembling the old Trinity westerns (the arrival of Kristoffersson to town in the stagecoach at the beginning of the movie is priceless). Unfortunately, Almeria seems to have changed in the last 40+ years and some signs of the modern world have made it into the movie (concrete forming part of a highway is clearly seen in the background around minute 17 of the movie). I also find it unfortunate that the movie, being made for TV, has an aspect ratio of 4:3, so we cannot enjoy the panoramic views typical of the Cinemascope in which many of the SWs were filmed.

In a nutshell, this is an entertaining Eurowestern with some likable (and not so likable) badasses, but that lacks the magic of many of the old SWs.


Other Films / Re: Il mio nome è Nessuno aka My Name Is Nobody (1973)
« on: August 10, 2011, 11:42:19 PM »
I thought Leone's participating in the opening of Genius was confirmed.

So did I. Maybe I am misreading Terence Hill's statements?

Other Films / Re: Il mio nome è Nessuno aka My Name Is Nobody (1973)
« on: August 09, 2011, 09:38:47 AM »
Some relevant sections from a Terence Hill interview here:

Well, I should first answer the question concerning "Nobody". My Name is Nobody came after the two Trinity films and was conceived of and created by Sergio Leone because when the second Trinity came out, he admired this film very much but he did not expect it to have much box office success. He was surprised however, when the film came out at the same time as A Fistful of Dynamite / Duck, You Sucker with Charles Bronson and James Coburn and we did better than they did. At that point in time, Leone had decided to stop making westerns, but he was still in love with the genre, so he conceived of a film that was like his own story and how he wanted the western to end. I came to understand this during many visits with him, and that he identified with the Henry Fonda character, who was confronted with a new character who was portrayed by me. The character was a bit like the hippy of that era, don't you think? He slept, lazed around, reacted only when provoked, had no worries and lived day to day with great joy. So Leone wanted to make one last western and it was a very premeditated western, done with great care and professionalism. Three scripts were written but Sergio liked none of them, the last one having been inspired by Homer's The Odyssey, but even that one did not work. But Sergio wanted to keep the name Nobody which is why it was called My Name is Nobody. Everyone asks me if the film is by Sergio or by Tonino. I don't want to answer this question out of tactfulness, however I can say that it was Sergio Leone's baby because he had wanted it so badly. I didn't know him at the time but he came to me and said: "I want to make a film with you, on a large set, with more financial backing, more serious, with more meaning, epochal". He really liked epics. Tonino Valerii was his assistant director so there was, you could say, a lot control coming from him. Sergio Leone, whom we all love, saw his moment in that film, and said he wanted to leave the western but wanted to leave a story like Nobody to remain in film history, "Jack Beauregard" pitted against the Wild Bunch.

es, I'm very attached to "Trinity" and to "Nobody". "Trinity" because his was a portrayal that came totally spontaneously, unconsciously. "Nobody" was instead a performance that was very studied. For the journalists here who are interested in cinema, I'd like to provide an example of what I mean. Sergio Leone wanted his films to be epic films. I had become something of a favourite of his, so he would take me to see his films when they were showing, and he told me that Charles Bronson's character in Once Upon a Time in the West / There Was Once the West, was made to always enter the scene from right to left. He wanted to visually develop this hero in that way, to have him arrive at the climactic moment to confront the bad guy, in this case, Henry Fonda. In the final duel, you can see that as Henry Fonda is walking in a circle, the background is turning too. Leone said to me: "Do you know how I did that?" And I said: "No, I don't know. How did you do that?" "I put him on a platform and made the platform turn together with the camera". Then when Charles Bronson enters the scene to confront the bad guy, he has him enter from right to left, which he explained later to me the reason why, and I remember I jumped up in my seat because the music composed by Ennio Morricone had been developing throughout the whole movie, and when the crescendo came, he (ed. Bronson) entered the scene, and the emotions aroused were incredibly strong. Sergio Leone worked on the unconscious of the audience to achieve this effect. And for My Name is Nobody, he told me: "You know what I'm going to do with you? I'm going to have Nobody enter the scene from bottom to top." That's why the first time you see him he's coming out of the water, which is actually a mythological reference. He created the emotional reactions in the audience, unconsciously, directing those emotions all the way to the climax of the story, in which by then the audience is clearly involved, continually playing with the strings of the archetypal characters. It's also for those reasons that I'm attached to My Name is Nobody, As a character, "Nobody" is very spontaneous and very direct, but supporting him is much that is well thought out and studied.

Here we are, this answer may satisfy the journalist who asked about My Name is Nobody. Tonino Valerii was a student of Sergio Leone. Damiano Damiani, however, was an independent auteur, so the films that he made, were not made following in the footsteps of Sergio, in that style, which I think was a mistake. Westerns have a certain style; they have to have a certain rhythm; they have to have certain shots and set-ups which can't be improvised. But okay, I'm not going to say any more!

Outstanding. Thanks for posting this, Novecento.

Regarding Terence's last sentence, am I the only one who sees Leone's hand in the opening scene of Damiani's A Genius, Two Partners and a Dupe? If we accept as true the theory that Morricone's scores were far more elaborated in Leone's westerns than in most others, I find that the score in Damiani's film does pass that test.

Other Films / Re: Seven Guns for the MacGregors (1965)
« on: August 09, 2011, 09:17:17 AM »
Maybe someone should first check what Frayling actually wrote.

At least the scores he wrote for Leone (including Nobody) are the best and most varied. Followed by those for Corbucci (except the last 2, which are pretty lazy), then Sollima, then the rest he did in the SW realm, which is not as impressive and not as remarkable. But also not bad compared to usual SW score.
Other composers have also done some great work in the genre.

I don't disagree with that, and maybe (or maybe not) Leone and Morricone's personal friendship had something to do with it. Clearly, the scores he wrote for the Leone films (let's not forget about OUATIA) are quite varied, but so are The Big Gundown, The Mission, And for Roof a Sky Full of Star, Run Man Run, Novecento, Sacco e Vanzetti, etc (yes, I know some are not Westerns, but I am talking about Morricone's scores in general). I suppose that it also depends on how much they paid him for his work, or if they wanted exclusive rights to the score. Let us remember that some Morricone & Nicolai scores are played in more than one film; for example, the soundtrack of Sette Donne Per I Mac Gregor contains themes from A Fistful of Dollars and Le Pistole Non Discutono.

Back to the original issue, I am still curious to find out if more people hear the same words as I do in the Mac Gregor's March song.

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