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Author Topic: The Return of Ringo aka Il ritorno di Ringo (1965)  (Read 5415 times)
redyred
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« on: June 01, 2005, 02:44:52 PM »

I just saw this early (1965) Spag by Duccio Tessari and have to say I was really impressed. Here's a review for yous lot. (Feel free to put this on your site, Marco Leone)

Loosely based on Homer's oddysey Return of Ringo follows the story of Ringo (played by Guiliano Gemma) after he has returned to his home town from the Civil War. Everyone assumes he died in the war and he has been gone so long no-one seems to recognise him. He finds the town is now run by the greedy Fuentes family. What's more the eldest Fuentes son is planning to marry Ringo's wife, whom he does not allow to venture out of the house. Taking a job with the town florist (who is basically a more friendly version of the crazy bellringer from Fo$), Ringo plans to take on the Fuentes gang and win his wife back.

Unusually for a spaghetti, Return of Ringo is very much a mood piece, with plot taking a back seat to atmosphere and stylisation. Even by spaghetti standards, the town in which the action takes place is eery and stark, and the whole thing has an air of surrealism similar to that in Django Kill. Tessari's direction is also quite unique, he is not simply trying to rip off Leone like virtually every other SW director. That's not to say there aren't Leone similarities, but they aren't the typical ones that everyone else was doing a copy-cat of at the time. Like Leone he has long periods with no dialogue - huge portions of the plot are conveyed in action alone, and scenes really take their time to unfold. Tessari also seems to have Leone's skill for dynamic use of music. One moment in particular - where we hear the main theme play as Ringo stands alone in a cemetary, and as the music swells up the camera pulls back to reveal he is looking at his parent's gravestones - reminds me of the flashback from Once Upon a Time in the West, despite predating the latter by several years. The score itself is by Morricone, and is very un-spaglike and yet totally suited to the film.

One shortcoming of RoR is the action scenes, which are not done too well. Tessari just doesn't seem to have quite got to grips with filming shootouts or punchups. Fortunately the non-action bits are atmospheric enough to keep you watching whereas the final gun battle (a massive shootout which takes up the final twenty minutes of the film) is strong enough on ideas if not on style.

To sum up, while Tessari's direction is nowhere near as masterful as Leone's, he's certainly a cut above the majority of the pack. A good deal of thought has gone into the film, and there are some interesting touches here and there, although its cheapness also shows through in many places. True, it's not quite a classic but Return of Ringo really deserves to be considered among the top Spaghetti Westerns.

« Last Edit: June 01, 2005, 02:48:25 PM by redyred » Logged

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« Reply #1 on: June 01, 2005, 03:06:19 PM »

Thanks - I appreciate that.  Its posted now!  Its a nice review too.

I agree with most of the comments.  I watched it a couple of months ago and really enjoyed it, albeit the ending is maybe dragged on a bit too long.  But it would certainly sit proud in my SW Top 20.  Slightly ahead of Pistol for Ringo, which is also a really enjoyable film.

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« Reply #2 on: September 08, 2005, 03:38:55 PM »

Well, everybody is entitled to his own opinion. here's mine: couldn't force myself today to go beyond the first 15 minutes. The  story sucks: you know what it is going to happen almost before the movie starts and the direction does nothing to keep it interesting.The gimmick is that Gemma can dress up like a peone while speaking supposedly in english. No explanantion is given, but a joke. It is a flat movie, with a flat lead (I really can't understand how Gemma ever got there, I like him even less than Nero. 
Still this movie was a smash hit when it was first released. I saw it at the theatre and wasn't impressed  even then, though I can't imagine why: when you're 9 years old you usually like everything that has to do with guns, cowboy and the rest. The cover of the single and of the album with the soundtrack still have onne of the picture I like best of all the spaghetti production. I like the Morricone song, though I'd preferred it were given to another performer.

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« Reply #3 on: September 21, 2005, 07:59:38 PM »

titoli U DONT LIKE NERO! Shocked

PLEASE U MUST ELEBORATE ON THIS

I AM SURE IT IS INTERESTING READING

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« Reply #4 on: May 25, 2007, 05:07:10 AM »

Leone Admirer's review from his SW Virgins Guide:-

Return Of Ringo

My first spaghetti of 2006 and I enjoyed it very much. Whilst not ranking with the best eurowesterns I have seen it did it's job in entertaining me and had an excellent soundtrack too!
     Giuliano Gemma plays Montgomery Brown, a Union Captain who returns home to a town on the edge of the Mexican border, find that his father has been killed, his wife (Lorella De Luca) has being captured and being forced to marry a mexican bandit and that he has a daughter! With the help of a kindly florist Morning Glory (Manuel Muņiz) and a prostitute Rosita (Nieves Navarro) he goes undercover to right the wrongs and to rid the town of its evil inhabitants!
     The introduction of Gemma's character in the film is excellent. Talking to a bar tender he gets up and shoots a pair of Mexicans sitting at a bar stool. As he flicks the table over we realise that one of the bandits had a gun trained on him. After he discovers that hi swife is missing he rides into town sporting a beard and a mexican hat. As he rides in a man is seemingly shot out of no where. The desolate town seems to have no positive attributes and is almost like the town out of Django
     There are other similarites with Django present in the film also. Such as the Mexican bandits themselves, and the fact that the main character's hand becomes disfigured at one point. I wasn't expecting this and whilst most of the film's violence is pretty tame this came as quite shocking if not gory. The missing spouse is also similar however in this film the protagonist discovers her.
     Gemma is excellent as the wronged Brown. He superbly acts out his mental anguish with the highlight being when he spots his wife getting out of a carriage and is prepared to kill her but is interupted by the discovery of his daughter. Manuel Muņiz is good as the comic relief in the film and despite his strange ways doesn't come off as too annoying and strikes a nice balance in the film. Fernando Sancho is excellent as the main bandit and he does give off an air of menace, just as he does in the other Italian westerns such as Arizona Colt. The sequence in which he turns up in a church during the funeral of an enemy is particualaly enjoyable.
     Direction by Duccio Tessari, who also co wrote the film, is stirling with some interesting framing, the sequence with Montgomery and Rosita playing cards in her room is a particular highlight. The story was intersting, if had been seen numerous times in other spaghetti's before and since. Dubbing was average with most of it being good with the odd voice sounding strange. Special mention must go however to the excellent Morricone score. It was over the top, memorable and exciting! I loved the opening song and the theme has stuck with me. The music also reminisces on previous Morricone scores. A case in point being the funeral of a soldier in which the theme Morricone uses is remarkable similar to that used in the Civil War sections of The Good, The Bad, And The Ugly.
        The film was watched from an old English VHS and was presented in P&S under the title The Angry Gun . Whilst it certainly wasn't the best transfer at times and the P&S was annoying in parts I was glad to see a film I probably wouldn't normally have hunted out. If there is a more recent version of this film on DVD I would be interested to hear of it.
       To sum up, this film was a very enjoyable B/C western which I would definatly recomend to spaghetti fans and newcomers alike.

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« Reply #5 on: July 19, 2007, 04:27:31 AM »

Review for
"The Return of Ringo"




After the grand success of the first Ringo film starring Guliano Gemma, "A Pistol For Ringo", director Duccio Tessari quickly made a the follow-up film which was released in the same year as the original.

This follow-up film isn't really a sequel at all though. In fact the only similarities are the main characters name, Ringo (Actually his real name is Montgomery Brown and goes by the nickname "Ringo" this is reversed in the first film because in that his real name is Ringo but he goes by a nickname), and the whole cast of the original is back in similar roles. With one exception. George Martin, who played the righteous sheriff in the original, is now the film's ruthless villain alongside Fernando Sancho.



The two films are very different. The original was a shoot em' up whilst this one is a build up movie. Their isn't much shooting until the big finale. That's not to say this is a boring film. No. It is deliberatly paced and keeps you enthralled with it's story about a soldier (Gemma) returning home from war only to find that his hometown is not what it used to be.
A ruthless mexican family, The Fuentes, have taken over the western town and rule it by fear. Even the head of the Fuentes family, Paco Fuentes (George Martin who is rather convincing as a hispanic, believe it or not), has forced Ringo's wife into marrying him after telling her Ringo died in the war.

Ringo doesn't like this one bit and aims to save his wife and rid the town of the Mexicans once and for all. He does this by going undercover, dressed as a mexican peon, and bides his time until he can discover a weakness in the mexican's defenses.



The film is much darker than it's light hearted counter-part.
For instance, there is a scene where Ringo nearly murders his spouse, after believing she was unfaithful, but halts from killing her because he finds out she birthed a child (His kid folks, not the mexican's).

The film is certainly a classic of the genre and their isn't hardly anything to complain about except one major disappointment. The final extended gunfight is a bit of a let-down (at least this reviewer thought so).
It's just so flat in every way, and this is bizarre because Tessari's other action films sport some fine looking action sequences and set peices.
 Now it's not to say it is all bad. Frankly their is some good stuff in it but as a whole it is an unimaginative mess.
Also George Martin is treated as the main heavy whilst the brilliant Sancho is side-lined. I don't agree with this myself but I am a Sancho fan so I'm biast.





Morricone's music here actually surpasses the brilliant soundtrack for the original "Ringo" movie. I believe the only track from Pistol For Ringo that holds a candle to Return of Ringo's music is maybe "The Slaughter" (which is actually used very badly in that picture).




I prefer the first one really. In fact it sits on my top 20 list somewhere. However I cannot deny that the "sequel" is an excellent picture.
This is highly recommended by me.
8/10 Afro

« Last Edit: July 19, 2007, 04:30:14 AM by The Firecracker » Logged



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« Reply #6 on: September 17, 2017, 03:04:11 AM »

I fecking loved it  Smiley

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Il ritorno di Ringo (The Return of Ringo) is directed by Duccio Tessari and Tessari co-writes the screenplay with Fernando Di Leo. It stars Giuliano Gemma, Fernando Sancho, Hally Hammond, Nieves Navarro, Antonio Casas, George Martin and Manuel Muniz. Music is by Ennio Morricone and cinematography by Francisco Marin.

After fighting in the American Civil War, Ringo (Gemma) returns to his home town of Mimbres to pick up his life from pre the conflict. However, he finds the town is in the grip of Mexican bandits run by brothers Paco (Martin) and Esteban Fuentes (Sancho), their control over things extending to Ringo's wife, Helen (Hammond)...

No Entry For Dogs, Gringos And Beggars.

A sequel of sorts to A Pistol for Ringo (1965), with the same makers, cast, locations etc reconvening for a different story and scenarios, this ranks as one of the better follow up movies going. After a wonderfully sang title song opens up proceedings and we get introduced to Ringo (officially Montgomery Brown) via a bit of gun play and story setting, pic quickly identifies itself as a mournful revenge and rescue piece. We are deftly placed on the side of the protagonist, rooting for him to claim back his life and in the process rescuing his loved ones and vanquishing the whole town from racist bloody tyranny. It's a classic Western tale told with style at a suitably unhurried pace, the characters are formed because they get time to breathe, all relevant to the journey and the final destination that Tessari is taking us to.

I've come back Paco Fuentes!

With Sancho and Martin delightfully vile as the villains, it falls to Gemma to turn in a good one as our hero, and so it is. Ringo is a great character as written, his world turned upside down, and he has been funeralized as well! Ringo gets beaten, stabbed and emotionally battered, but he fights with guts and cunning. He is really cool as well, during adversity he can climb a rope one handed, cock his rifle the same, he is even prone to free falling from rooftops to enact skillful kill shots. For sure this is a Spaghetti Western hero for the ages. The natural beauty in the tale is obviously in the form of Hammond (socko gorgeous) and Navarro (socko sexy), these both dovetail nicely with the more grungy aspects of story and character actions and moral standards. While the makers enjoy filling the play with colourful support characters, such as a camp florist, alcoholic sheriff and a fortune telling whore.

Tech credits are very high. Tessari has a superb eye for a telling eye catching scene or sequence, cue Ringo doing a slow walk down the street, his form transformed via a number of coloured glass windows, scenes such as the way Ringo and Helen's initial recognition is lighted for ultimate worth, Ringo rapid fire with bandaged arm as a rest, strategic motifs like a knife thrown in a heart drawn on a tree, and of course the justifiably famous scene of Ringo in a doorway with dust storm raging around him, a scene that's as chilling as it is thrilling. Stunt work is great as well, in a sub-genre of film known for its exaggerations, it's pleasing to see so many falls enacted with genuine believability, none more so than for the exhilarating last quarter of film. This last quarter brings our hero into his pomp, all while bodies and buildings are way laid by bullets (get that wicked Butterfly monikered artillery repeater!), an action prelude to the final outcome that we want, in fact demand!

Then finally there's Morricone, whose score is one of his non Leone best. It's a swirl of emotions, darting in and around the main character, occasionally rising to thunderclap status for key dramatic scenes, with a music box tie-in that's heart achingly effective. Morricone's work is the cherry on the cake, for this is a superb Spaghetti Western of blood, brains and balls, and worth seeking out by anyone interested in the better half of this mixed sub-genre of film. 8.5/10

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« Reply #7 on: September 17, 2017, 08:29:23 AM »

I guess I'll have to check this one out.

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