Mann is a gunman informed by a childhood friend that his father was murdered years earlier by his mother and her lover. To make matters worse, Mann's sister, who is in love with his friend,... See full summary »
Twelve years ago, Sartana framed his brother Johnny for murder and stole his girlfriend. Now the town's undisputed boss and doted over by his possessive mother, Sartana seems safe - until, his sentence served, Johnny rides back into town.
After the Civil War, Michael "California" Random, is released from prison and goes to Missouri with his partner William. He is killed by bandits. California decides to return the belongings to his family and help them against outlaws.
Mexican land-owner Gutierrez offers to save Chad Stark from hanging if Stark will agree to find and return Gutierrez' runaway son, Fidel. Stark soon finds Fidel who's joined up with an ... See full summary »
I became aware of this Italian Spaghetti Western only recently; it turned up both on late-night Cable TV (which is how I watched the film, though the English-dubbed German print bore no title or credits whatsoever apart from the concluding "Ende"!) and online. I had been impressed with the same director's subsequent effort in the same vein i.e. GATLING GUN (1968) http://www.imdb.com/title/tt0064013/usercomments-3 which, likewise, dealt with the American Civil War.
A far-fetched subplot here, in fact, sees unscrupulous weapons manufacturer Andrea Bosic attempt to thwart the Peace Treaty signing between Confederates and Unionists because in that way his otherwise lucrative business would plummet! This is tied in with the central narrative which, typically, has a young man go after the villains who callously raped and murdered his sister these happen to be members of Bosic's gang who ultimately first turn on their boss and then, out of greed, kill each other off!; along the way, our hero also saves nominal heroine Lea Massari and her younger companion from much the same fate!
As played by Craig Hill (from the recently-watched ASSIGNMENT TERROR ), he evokes John Philip Law in the popular and obviously superior DEATH RIDES A HORSE (1967), proving an adept gunman but also getting a beating every so often (since he even has to contend with a corrupt sheriff, whose brash younger brother he had killed in self-defense, and his associates). The result, then, is a minor (and pretty forgettable) genre effort but one that serves its purpose in the entertainment stakes; as is to be expected, the score (courtesy of Nico Fidenco) emerges as its main asset.
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