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Author Topic: Red Blood, Yellow Gold (Professionisti per un massacro)(1967)  (Read 5868 times)
titoli
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« on: November 09, 2006, 04:31:15 PM »

http://www.imdb.com/title/tt0062157/

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


The thing that most amazes me about this is Byrnes' ducktail: in midst of the most violent battles he manges to keep it immaculated (well, now I'm exaggerating). So I keep wondering how he ended in Italy and if his contracts had black on white that nothing could be done with his barber's masterpieces. (You know, I have it against him since I saw him in the clip with paesana Connie Stevens asking vainly for his, well...comb).
Anyway,  this movie is founded on rhythm, but Cicero has even a sense for the landscape so the movie, though not original, it is a pleasure to see. Can't understand what the IMDb reviewer found difficult to understand in the plot: three confederate soldiers about to be executed for having stolen from the army arsenal are graced and sent to recover some gold stolen by some of their comrades. As said, this is based on rhythm. The three actors have all equal time and all of the three are good. Music entertaining.

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« Reply #1 on: November 10, 2006, 02:20:37 AM »

I've saw ths 2/3 months back and its a very entertaining sw.I've heard Byrnes being called lightweight.Maybe so Roll Eyes but still i enjoyed his performance in this movie and also Seven Winchesters For A Massacre and Any Gun Can Play.Its a shame he didn't have the same level as success as Eastwood or LVC  because he undoubtably has some charisma,though his voice is a little weedy.

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« Reply #2 on: November 10, 2006, 06:10:03 AM »

Quote
I've heard Byrnes being called lightweight.

Good: don't say where you did.
Anyway, you know, it's strange to see that '50s haircut in movies shot in the end of '60's, when you have all those long hair and uncultured beards and moustaches. Sure, that way you can't miss him. But I'm still curious to know how he ended up there at all: his presence in those three movies stays unexplained. 

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« Reply #3 on: November 15, 2006, 07:25:48 AM »

Good: don't say where you did.
Anyway, you know, it's strange to see that '50s haircut in movies shot in the end of '60's, when you have all those long hair and uncultured beards and moustaches. Sure, that way you can't miss him. But I'm still curious to know how he ended up there at all: his presence in those three movies stays unexplained. 
Not that different to Eastwoods combed back hairstyle in the Dollars trilogy but minus the stubble/cigar.I'm sure like other America TV actors(Craig Hill comes to mind) Byrnes was inspired by Eastwoods success in Europe but i guess it never paid off for him.Titoli did any of Byrnes three sw's do well in Italy?I should think in the UK and USA these more obscure sw's would have bypassed the theatres and were only shown on television over a decade or so later.
When i see Byrnes in these westerns i can't help thinking of the silly DJ character he played in Grease Grin

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« Reply #4 on: November 15, 2006, 08:48:40 AM »

I never saw Grease and never will.

Yes, surely the one with Castellari did very well, the other two I don't know. But I don't think his haircut compares with Eastwood's. But you've got an explanation for him ending up here (looking at his filmography, it doesn't look like he had many alternatives at that time). It doesn't explain how he got caught. One should ask Castellari.

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« Reply #5 on: November 16, 2006, 10:40:26 AM »

I never saw Grease and never will.

Yes, surely the one with Castellari did very well, the other two I don't know. But I don't think his haircut compares with Eastwood's. But you've got an explanation for him ending up here (looking at his filmography, it doesn't look like he had many alternatives at that time). It doesn't explain how he got caught. One should ask Castellari.
I'm think he was a big tv star in the USA at the time,known as "Kookie"(his nickname) in a well known tv series and maybe Castellari followed Leones example as Eastwood was of course well known as Rowdie Yates in Rawhide.
Unfortunately i was of the generation when at school Grease was a must see,though i only saw it at the theatre only once while some of my buddies saw it several times but its worth watching for Olivia Newton John who was gorgeous in that film Wink

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« Reply #6 on: November 16, 2006, 11:22:21 AM »

I think his heyday was past when he landed in Italy (though I'm not sure about that). And about comparing his with Eastwood's case, well, maybe.   

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« Reply #7 on: November 16, 2006, 03:37:23 PM »

He was a little before my time, late 50's, the show 77 Sunset Strip ran from 59 mto 64.  Effrem Zimbalist, Jr. (Stuart Baily) and Roger Smith (Jeff Spencer) were the two suave PI's who ran the Sunset Strip detective agency.

"Kookie" Byrnes was the hip parking lot attendant who combed his locks and called everybody "Daddy-O." He became a big teen sensation ;-)

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« Reply #8 on: October 09, 2007, 05:34:29 AM »

A review from Arizona Colt:-

RED BLOOD, YELLOW GOLD 1967 aka PROFESSIONISTI PER UN MASSACRO aka PROFESSIONALS FOR A MASSACRE

George Hilton (Tim), Edd Byrnes (Chattanooga Jim), George Martin (Fidel), Gerard Herter (Major Lloyd)

Directed by Nando Cicero; Music by Carlo Pes

Three thieves masquerading as Confederate soldiers try and steal a wagon load of gold only to be captured in the process. Soon after, the gold is stolen anyway by a renegade Confederate officer, Major Lloyd (Herter). Just seconds before the three hoodlums are to be executed, they are saved from death and recruited to retrieve the gold. Lieutenant Logan, a Confederate officer who is suspected of being a Union spy, is sent along to keep an eye on the trinity of ruffians. The gold is ultimately stolen yet again from a nasty Mexican bandit gang. During the conclusion, the three thieves briefly join forces with Major Lloyd to get it back. Subterfuge follows leading to several false endings before the credits roll.

Hilton and Byrnes team up yet again having both previously appeared in the Castellari spaghetti comedy ANY GUN CAN PLAY (1967) before the comedy western became fashionable with MY NAME IS TRINITY (1970). They are joined by George Martin as a Mexican crook. It took me a while to realize Martin was the sheriff in A PISTOL FOR RINGO (1965) as well as featuring in the sequel. He does well decked out like a rabble rousing Mexican bandito.

Hilton, who is top billed, gets about equal screen time with the others. Hilton is the slightly insane ex-preacher named Tim who has a fascination with dynamite and likes to blow stuff up. Of course this habit comes into play more than a few times throughout the course of the film. Hilton quotes from the Bible off and on and engages in some fisticuffs with his co-stars falling into his funnyman routine that would dominate his SW career. It suits him but still for me his best role I've seen him in is in the somber and violent A BULLET FOR SANDOVAL (1970).

Edd Byrnes really doesn't get to do much since the film is shared equally amongst the three actors. Byrnes actually seems disinterested here and I found myself often forgetting he was in the film. He is all over the superb action adventure western 7 WINCHESTERS FOR A MASSACRE (1967) from master action specialist Enzo Castellari. Both Byrnes and Hilton fare better in the other Castellari movie ANY GUN CAN PLAY (1967).

The film drags a bit in places when there isn't action on screen. Once the gold is hijacked by the bandit gang led by a nasty savage named Primero, the film turns a bit violent for the remainder of the picture save for the final moments. There have been hundreds of Mexicans featured in Italian oaters but none quite like the ones seen in this movie. The absolute filthiest, dirtiest and sickly looking bunch I've seen yet. It's as if the director hand picked a bunch of homeless people and put costumes on them. None of the girls are attractive at all and look like men in gowns. The one dancing girl is hardly arousing and a scene I thought was to be humorous turned out not to be so. Primero's gang is seemingly headed by his mother who fancies herself a seer of sorts.

One interesting bit has a somewhat retarded (either that or he was drunk) gang member placed inside a large vase. The bandits take turns shooting at his exposed head only winning the "game" should the fellow not duck his head quick enough. A similar scene takes place (on a much more light hearted note) in the independent kung fu film THE DRAGON & THE TIGER KIDS (1979) aka HELL'S WIND STAFF. Pai Piao pops his head in and out of holes in a board while a contestant tries to take off his head with a sword. In the SW, the scene ends on a more darkly humorous note.

The ending is a bit abrupt leaving me wondering if it was in fact over and it was not. The final gun battle is over rather quickly only to have at least two more false endings before the final credits roll. After the bandits are vanquished, our would be heroes are captured yet again and are to be executed yet again until Tim, the nut with the explosives, utilizes his good book in a way that is seen only in one of these movies. Of course you'd think this was the end but no, we get one more finale which leads to a possible new adventure for our three elusive and cunning vagabonds.

An enjoyably average western mainly for Hilton fans as Byrnes brings little to the table but Martin surprises as their Mexican compadre. Herter is almost unrecognizable as well having played the German gunman in Sollima's THE BIG GUNDOWN (1966) and he is underused as he is supposed to be the main villain. The music is also unremarkable but serviceable. I also spotted Aristide Massacessi as cinematographer on this one. It was one of many for him. It's not as good as ANY GUN CAN PLAY (1967) but the antics of the three main leads make it worth at least one look.

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