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Author Topic: Long Days of Hate (I lunghi giorni dell'odio) (1967)  (Read 10313 times)
The Firecracker
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« Reply #15 on: May 03, 2007, 12:30:08 AM »

I wrote Peter Lee Lawrence without checking first. Sorry. Sure they look alike.


No problem. An honest mistake.

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« Reply #16 on: May 25, 2007, 06:11:18 AM »

Firecracker's Crappiest SW's review:-

This Man Cant Die.


The opening scene and the finale are all to see in this film. everything else is tedious as hell. The premise is a government agent named Martin benson(Guy Madison) is given a mission to seek and destory some gun runners. the job leads him on a trek home. back at his families ranch there is a massacre. some greedy land grabbers kill his father and mother, all that are left alive are his two younger sisters and two brothers. One of the land grabbers henchmen are shot and left behind, when the children find him he is unconscious and badly wounded. The kids get the idea that if they keep him alive long enough for him to talk, he can rat out those responsible for the murder of there family. So by this time in the film I am thinking "this is cool! The man that is wounded is the man who cant die! so now the bad guys will stop at nothing to silence him before he can talk and the remaining family members must protect him from the onslaught of baddies". To bad none of this comes to pass. Instead we are subjected to a tedious tale of the older sister falling for the baddie she is looking after. this nightengale effect doesnt work at all. Some of the romance scenes are strecthed out for far to long.

meanwhile (during the REAL story) Martn is on his way home when he runs into the gun runners selling their supply to indians. He makes quick work of the  guns by blowing them up and rides off. After this decent action oriented diversion, were right back with the other story of the film, the love story, bleh. Afterwards Martin gets to town and finds out his family has been ambushed and killed. Martin hides out in the saloon with his hooker girlfriend. The baddies go inside the saloon  looking for martin(how do they know he is in town?). Martin rides away from the saloon while the hookers distract the baddies which ends up in a particularly dirty scene with the hookers being beaten and and grabbed in various places of their body. At that point I stopped the film, took a shower, and continued to watch the film.

The last 15 minutes are a decent view. We have a shoot out in the saloon and the final confrontation between Martin and the main villian on the secondfloor of a barn.  The two adversaries duke it out in a fist fight. Martin grabs a noose(for pulling up hay to the second floor I would imagine) and rings it around the villians neck then punches him of the second floor of the barn resulting in the villian being hanged, This visual isnt executed that well but it gets an "A" for effort.

The Actors:

Guy Madison(martin):Martin was the only character I enjoyed in the film. Unfortunatly his exploits have little screen time, the director obviously felt the romance between his Martin's older sister and the wounded baddie was more important, but in reality it holds little importance to the plot.

Martin's little brother(dont know name of actor): this is the same actor that played Franco Nero's younger sibling in "Texas Adios", and I must say he annoyed me to death in that movie. Luckily for him "Texas Adios" is a good film, this is not though.

Susie(dont know name of actress): Martin's ditsy sister. Though she is pretty, she holds no importance to the plot at all, but more time is spent on her doing nothing as opposed to Martin actually trying to make this a watchable film.

The wounded bad guy(dont know name of actor): Gets shot and does nothing the remainder of the film. If he was supposed to be "the man that cant die" because he holds vital information...I just dont see it. There never seems to be anytype of urgency with the fact that he might die from the gunshot, bad guys never come and try to silence him and shortly after the remaining family picks him up he wakes up from his knock out, so why is it they never pop the question(who are you working for?)? If he really had to be awake it would have made more sense if he had amnesia. But no, he is used as a stage prop, only there to fall in love with susie.


The Music: The only saving grace in this film. The main theme is really catchy and there is two scenes where the music was ripped off from "A fistful of dollars"soundtrack.

*note To Ennio Morricone*
Mr. Morricone please sue these hijos de gran putanas ASAP!
sue Uomo sue!!!!!

Also: the title (This man cant die) brings a few questions to mind...Who is this man who cannot die? where does he come from? where did he go? Because he sure as hell isnt in this movie.

Overall:
It is worth a view just for the theme song. I suggest buying it with the "diamond entertainment spaghetti western collection" which comes with 12 other spags. otherwise...STAY AWAY!


CRAP METER:6

ENTERTAINMENT VALUE:4

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O'Cangaceiro
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« Reply #17 on: November 01, 2009, 02:18:46 PM »

Quite an uninteresting SW. One of the few scenes I liked was the saloon girls fighting the baddies.

Just  curious to know whether the original movie is in colour or in B&W. The copy I have (DVD from St. Clair Vision) is full screeen B&W.

4/10

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stanton
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« Reply #18 on: November 02, 2009, 02:04:01 AM »

In colour of course.  Eastmancolor. There aren't any b/w SWs.

The 4:3 is probably open matte and for this just ok.

Mediocre western nevertheless.

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titoli
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« Reply #19 on: November 02, 2009, 06:51:07 AM »

There aren't any b/w SWs.


Yes, but if italian and shot after FOD.

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« Reply #20 on: November 04, 2009, 03:06:59 AM »

I think Titoli is correct. This one, for example is in B&W and was made in 1964, same year as FoD.

http://www.imdb.com/title/tt0058693/


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stanton
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« Reply #21 on: November 04, 2009, 04:56:54 AM »

Ahh interesting. I didn't knew that.
There were at least still a few US b/w westerns in the early 60s, but the only European one I knew about before is The Singer Not the Song, which is not in every respect a western.

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titoli
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« Reply #22 on: November 04, 2009, 11:00:16 AM »

Ahh interesting. I didn't knew that.
There were at least still a few US b/w westerns in the early 60s, but the only European one I knew about before is The Singer Not the Song, which is not in every respect a western.

And which was shot (and I saw) in colour.

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titoli
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« Reply #23 on: November 04, 2009, 11:06:33 AM »

The other 2 SW I saw in B&W were:


http://www.fistful-of-leone.com/forums/index.php?topic=8238.0

http://www.fistful-of-leone.com/forums/index.php?topic=8041.0


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stanton
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« Reply #24 on: November 04, 2009, 11:52:59 AM »

Ooops, wrong again. Yes The Singer ... was a (Techni)color film. Remembered it somehow in b/w. Well it was damn long ago ...

But these other two pre SWs were according to my German SW bible also color films. Both in Eastmancolor.

« Last Edit: November 04, 2009, 11:54:42 AM by stanton » Logged

titoli
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« Reply #25 on: November 04, 2009, 01:51:54 PM »

Ooops, wrong again. Yes The Singer ... was a (Techni)color film. Remembered it somehow in b/w. Well it was damn long ago ...

But these other two pre SWs were according to my German SW bible also color films. Both in Eastmancolor.

I doubt whoever listed them ever saw them.

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stanton
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« Reply #26 on: November 04, 2009, 02:41:49 PM »

German dubbed versions of both exist, but they are probably rare.

Don't know if Bruckner has seen them, at least he has somewhere researched the film data. But there are errors in his book, like in every SW book.
Another author of a SW book has seen one of the 2. Kessler has seen nearly every SW and indicates in the book the few he hasn't seen. He talks about La sceriffa and has seen an Italian version.

In another German western encyclopaedia of the 70s the Oklahoma film is also listed as a color film. Maybe also wrong.

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titoli
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« Reply #27 on: November 04, 2009, 03:06:54 PM »

The versions I saw are the ones usually televised by the public channels. Nowhere in the titles is mention made of any colout technique, as far as I can remember. And it would have been strange that in 1959 two small productions like those had been made in colour, as that was reserved only to big budget ventures.
This italian source (quite dependable) confirms the b\w:

http://www.mymovies.it/cast/?id=24956

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