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| | |-+  La bataille de San Sebastian aka Guns for San Sebastian (1968)
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Author Topic: La bataille de San Sebastian aka Guns for San Sebastian (1968)  (Read 7791 times)
stanton
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« Reply #15 on: April 01, 2017, 02:16:22 AM »




This is very spaghetti-influenced. The sacreligious Catholicism. The violence. The dirt. This is what the townspeople in THE MAGNIFICENT SEVEN should have looked like! And changing the title from the book's "A Wall for San Sebastian" to "Guns for San Sebastian" is a very spaghetti thing to do  Grin



I think this one is not influenced by Spags. There's nothing in it which is specific for SWs.

It's also a film of minor interest. It's Quinn's show, and Verneuil has not much to offer to counterbalance his acting. 4/10

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dave jenkins
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« Reply #16 on: April 01, 2017, 05:10:27 PM »

This does not seem to be Sam Jaffe's real  voice; he speaks here without his usual German accent?
. He did have some kind of association with Yiddish theater, but he was born in NYC, so I think his accents, when he used them, were put on. Not sure.

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That's what you get, Drink, for being such an annoying Melville fanboy.
Spikeopath
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« Reply #17 on: April 29, 2017, 01:53:14 AM »

My contribution >

The Dam Busters.

Guns for San Sebastian is directed by Henri Verneuil and adapted to screenplay by James R. Webb from the novel "A Wall for San Sebastian" written by William Barby Faherty. It stars Anthony Quinn, Charles Bronson, Anjanette Comer, Sam Jaffe and Silvia Pinal. Music is by Ennio Morricone and cinematography by Armand Thirard.

An outlaw on the run is mistaken for a priest by peasant villagers who are at the mercy of bandits and Yaqui Indians.

Something of a multi euro Western, Guns for San Sebastian latches onto the Spaghetti Western coat tails whilst attempting to put something new in the wardrobe. Undeniably the critics who said it's pedestrian in pace are absolutely right, the first two thirds of the piece asks for a great deal of your patience, whilst simultaneously demanding you buy into the various themes trundling away.

With a surreal sub-plot at play, a jokey romance and some atrocious dubbing, it's not hard to dismiss it as purely fun cannon fodder. Yet there's some strengths in the piece, literary wise and from a thrilling stand point as the last third brings the thunderous siege - cum battle stations. Quinn throws in a good turn, the Durango locale is superbly photographed, and Morricone offers up one of his tonally astute scores.

It's all very Magnificent 7 et al, but nothing wrong with that, that is on proviso you can get through the labours of the first hour or so. 7/10

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