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Author Topic: Une corde, un Colt... aka Cemetery Without Crosses (1969)  (Read 36871 times)
cigar joe
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« Reply #15 on: January 30, 2005, 09:21:32 AM »

Shobary must have just put that up since I looked recently for it.

But yea you can see what I mean, The other side of the street is the same and they are surrealistically too close together, especially since there is so much desert space around it.

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« Reply #16 on: July 22, 2005, 02:43:20 PM »

It took me sometime to re-find this thread, but as I have just got around to watching this film for the first time, I thought it was proper that I should add my review to the thoughts already expressed.  So, here goes :

"From the opening sequence, as a sepia camera lens captures the pursuit of a single rider by a gang on horseback, I just knew that this film was going to demonstrate class. And, although the story itself probably has little to set it apart from many other films within the Euro Western genre, it more than makes up for it with its effective use of camera work and great character portrayal. Yes, this film has class in abundance.

So to the story itself. Having witnessed her husband Ben (a brief but welcome appearance by Benito Stefanelli) executed by the Rogers family, Maria (played by stunning french actress Michèle Mercier) seeks revenge on the killers. Unable to rely on her two oafish brothers-in-law to assist, she seeks help from Ben's best friend (and, as we find out, Maria's former lover) Manuel (Robert Hossein).

Manuel enlists himself as a member of the Rogers gang, enabling him to capture the only daughter. With this prisoner in her custody, Maria has the perfect ransom to deliver a perfect revenge on the Rogers gang. With the scene now set, the bloodshed and twists to the story soon commence.

The character of Manuel is quite unlike any other main western lead that I have seen. Whilst demonstrating an unnerving ability with a gun, there is a definite reluctance to become too embroiled with Maria's plot. His time as a gunfighter by choice has passed - perhaps symbolically shown by him being the sole resident of "Ghost Town". However, his involvement is spurned on by his feelings for her. Hossein, who both played the part of Manuel and directed the movie, plays this solemn and complex character superbly.

Hossein's direction is really eye catching too, with the camera work demonstrating more than a little nod in the direction of a certain Mr Leone (to whom there is a suitable credit in the end title sequence). This is no copycat Leone film however, and firmly stands up on its own merit. Less is definitely more, as the opening scene proves (it must be a good ten minutes before there is any real dialogue. And in reality, when the picture is this effective words are not needed).

In summary, don't be put off by the simplicity of the story, as the way that this film is crafted makes such an issue completely irrelevant. It can stand quite proudly in that top echelon of Euro Westerns, and quite possibly a perfect introduction to the genre to those that have purely seen the Leone movies".

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« Reply #17 on: January 29, 2006, 01:16:49 AM »

In my continuing re-evaluations rewatched (Une Cord Un Colt) Cemetery Without Crosses (1969) today. You notice a lot more with re viewings.

Marco Leone is right on the money, this is a very unique and different style SW. In the opening title sequence, the emphasis on a classic horse chase is enhanced by the shifting camera angles from the pursued and their point of view, to the pursuers, and at times the camera is right amongst the horses as if you are there in the group, adding to this "you are there" effect are the sound of pounding hooves, the billowing dust, the passing barren, open, no place to hide landscape.

This all adds to the desperation of the three Cane Brothers as the closing of distance by the Rogers clan builds up to a dramatic climax. We see that one of the three Canes is lagging behind and when this wounded Ben Cane (Benito Steffenelli) drops off his horse at his own ranches doorstep and is summarily dragged from his wife's Maria (Michele Mercier) arms and hung from a gatepost to a mornful spanish guitar score, the bleak, dark tone of this Western is set. There are no good guys in this film.

The other two Cane's escape death and watch from a ridge as their small ranch house is burned to the ground.
Here Hossein adds a nice human little touch, when later their ranch house is reduced to smouldering ashes one of the Cane brothers sifts through them and retrieves a functional keepsake a small skillet that he drops into his saddle bag before riding off. This is one of the first references to food in the film which if you pay attention you'll notice, you see a lot of references to bread, lol. Perhaps its a French affectation.

The two Canes ride back to Ben's place where they find Maria burrying Ben. They split up the gold they got from the Rodgers cattle, giving Maria a third before they go.
Maria takes her cut to "Ghost Town" to get revenge.

In the middle of a shifting sand dune desert that threatens to swallow it whole, lies Ghost Town the most surreal town in any SW. There at a dilapidated gambling hall she seeks gunfighter Manuel (Hossein), Ben's best friend, and her former lover.

Manuel's whole demeanor has "something to do with death", and its fitting that he is the only resident of Ghost Town. Reluctant at first,  he accepts the bag of coin, and plots to kidnap Clan leader Will Rogers only daughter. Manuel smokes cheroots with his own style, he has a habit of placing the cigar in his mouth and wetting it with saliva then turning it around and places the dry end in his mouth before lighting the wet end.

In the Hall after he decides to do the job he pulls out a music box that chimes (referencing the musoical pocket watch) when he opens the top and pulls out a black leather glove, when he puts on the glove people die, (he uses it to fan the hammer on his Colt).

After he kidnaps Johanna, Maria visits her, and takes her locket as proof in order to blackmail the Rodgers into giving Ben a proper funeral in town. Meanwhile Tomas & Eli Cane ride into Ghost Town unexpectedly and rape Johanna. Manuel does not interfere with this act nor tries to stop them in any way.

There are no winners in this film.

If I had to name one off key element it would have to be the title song and its chorus which pops up on and off throughout the film, it has that '70's modern sound and unfortunately takes you out of the somber mood of the story and also dates it, the rest of the scoring is perfect.



« Last Edit: January 29, 2006, 01:27:21 AM by cigar joe » Logged

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« Reply #18 on: October 24, 2006, 12:36:02 PM »

I am a little confused: In Fraylings "Something to do with death" the author writes that Leone acted in Hosseins interesting Gothic-Spaghettiwestern UN CORDE UN COLT better known as Cemetery without Crosses. And indeed, the clerk in the hotel looks very much like him.
Frayling quotes some interviews: 1. Carla Leone saying "Leone didn't participate in the making of the film", 2. on the same page he writes that Leone was indeed playing the hotel clerk, and 3. he is quoting Leone with "When I saw myself in the film I decided I would not repeat the experience."
After that confusing two pages in Fraylings book (pages 267-268, Faber and Faber 2000, paperback) I searched the web. Imdb gives the name Chris Huerta for the actor. There is also on fistfulofwesterns.com a statement that it is definitively not Leone but Chris Huerta who played the part:
http://website.lineone.net/~braithwaitej/mainsite/overview/actors/huerta.htmthe quote)
Does anyone know for sure if it is Leone in this scene or Huerta? What really confuses me is that Frayling is actual quoting Leone  Huh

By the way: Hosseins movie is going to be released in Germany on DVD. The actual release date is not yet confirmed such as the language and subtitle options. But its going to be released by a pretty good label (Anolis) that is known for very decent DVDs Smiley

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« Reply #19 on: October 24, 2006, 01:36:36 PM »

It's a total Hoax. The desk clerk is Huerta not Leone.

It's a fact, I have seen the film. Others on here who have can also vouch for me.


Not sure if Frayling got this info from Weisser ( a big liar) or vice versa.

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« Reply #20 on: October 25, 2006, 05:48:41 AM »

I am a little confused: In Fraylings "Something to do with death" the author writes that Leone acted in Hosseins interesting Gothic-Spaghettiwestern UN CORDE UN COLT better known as Cemetery without Crosses. And indeed, the clerk in the hotel looks very much like him.
And i was thinking of getting that book but i won't bother now.I've heard that Frayling is prone to the odd gaff here and there but that is one massive howler (as it adds ACTOR to Leones cannon-i'm assuming here that Leone never had any roles other than in the CWC lie)and demonstrates that his research must be sadly lacking as anyone with the slightest interest in sw's should be aware of the reputation of Weisser and his book.
For books about non-Leone sw's one should definately check out Howard Hughes information packed Once Upon A Time In The Italian West in which i haven't found any inaccuracies so far though Leone Admirer mentioned in a pm there were a couple of typo errors but that ain't no big deal.

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« Reply #21 on: October 25, 2006, 01:35:25 PM »

Leone was a bit actor/extra in a lot of the films on which he worked as an AD - I remember reading he was in "The Bicycle Thief" for one.  Other than that, no he didn't have an acting character as far as I know.  Was in the film in some other capacity?  I honestly don't know, I believe he's credited as being in the film somewhere. . .  Huh

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« Reply #22 on: October 25, 2006, 01:47:50 PM »

I honestly don't know, I believe he's credited as being in the film somewhere. . .  Huh
He isn't.
He is not in there to begin with.


Bicycle thief is a yes. You can catch him as a very skinny young pup in that film.

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« Reply #23 on: October 25, 2006, 10:02:59 PM »

He isn't.
He is not in there to begin with.


Bicycle thief is a yes. You can catch him as a very skinny young pup in that film.

Love that movie.

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« Reply #24 on: October 26, 2006, 07:57:40 AM »

Thanks for the answers (especially firecracker). I had problems using the forum, so it took me some time to find out that somebody answered. Then it's obviously a major mistake in Fraylings book (which I like in other respects very much). But quoting is obviouly not his advantage (see also the wrong Baudrillard-quote discussed in another thread).

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« Reply #25 on: January 02, 2007, 06:55:38 PM »

http://www.imdb.com/title/tt0063740/

http://www.spaghettiwestern.altervista.org/cimitero_senza_croci.htm


The italian SW db tells the movie has "little content and story... (is) little exalting and quite flat". I more or less agree with this. The movie has a good start and is very good until the saloon shooting. Then it becomes a moving to and fro from Hossein's to Mercier's to Vargas', but at a slow pace. Really, I had to fight sleep to watch it through the end.
And I'm amazed that CJ wasn't bothered by the fact (similar to that we discussed about Searchers) that there a lot of going on in the desert. The Vargas family wants the other families out of the desert: what for? What is doing Hossein all alone in the ghost town in the middle pf the desert? Why before a shooting does he wear a black glove in the right hand but shoots with the left? And Mercier sport a pair of (fake) eyelashes very '60's.
 I like the main theme though, with the juxtaposition of downbeat with the uptempo sung by the choir. 

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« Reply #26 on: January 02, 2007, 07:06:51 PM »

Why before a shooting does he wear a black glove in the right hand but shoots with the left?
  

I assumed this was to protect his palm while he fanned the hammer.

I agree with you on the song, it is very effective, memorable, and all-around good.


I love this movie. One of my top 5 spaghettis. I've only seen it twice, though. We'll see how it holds up to repeat viewings (and i think it will fare well).

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cigar joe
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« Reply #27 on: January 02, 2007, 08:42:44 PM »

Yea, the glove was for fanning.

Quote
And I'm amazed that CJ wasn't bothered by the fact (similar to that we discussed about Searchers) that there a lot of going on in the desert. The Vargas family wants the other families out of the desert: what for? What is doing Hossein all alone in the ghost town in the middle pf the desert?

I'm assuming they (Rogers family) are cattle barons, that's the typical cliche, and they have a vendetta of some sort with the Cains. As far as Hossein in the ghost town he's a loner and its not explained, except for the short flash back to the gambling hall in its heyday, we are left to ponder. I think its more almost like a silent film a simple story of Western images and very little outright explaination, though enough so that you can devise your own story, sort of an existentialist Western.

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« Reply #28 on: January 02, 2007, 09:31:52 PM »

Great film! Top 20 list for sure.
A shame Titoli found it dull.

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« Reply #29 on: January 03, 2007, 08:49:08 AM »

I wasn't alone, though.

Apparently this is one of the movies (like "And God Said to Cain") on which opinions widely differ (though this is much better than that).

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