1. Una nuvola di polvere... un grido di morte... arriva Sartana / Light the Fuse... Sartana Is Coming (Giuliano Carnimeo, 1970)
2. Bring Me the Head of Alfredo Garcia (Sam Peckinpah, 1974)
3. Arizona Colt (Michele Lupo, 1966)
4. Kid Blue (James Frawley, 1973)
5. Bandidos / You Die... But I Live (Massimo Dallamano, 1967)
6. Robin Hood of El Dorado (William A. Wellman, 1936)
7. Al este del oeste (Mariano Ozores, 1984)
8. Dio perdona... Io no! / God Forgives...I Don't! (Giuseppe Colizzi, 1967)
9. Le colt cantarono la morte e fu... tempo di massacro / Massacre Time (Lucio Fulci, 1966)
10. California (Michele Lupo, 1977)
11. I quattro dell'Ave Maria / Ace High (Giuseppe Colizzi, 1968)
12. La collina degli stivali / Boot Hill (Giuseppe Colizzi, 1969)
13. Road Agent (Lesley Selander, 1952)
14. ¡Mátalo! / Kill Him! (Cesare Canivari, 1970)
15. Joko invoca Dio... e muori / Vengeance (Antonio Margheriti, 1968)
16. Joe l'implacabile / Dynamite Joe (Antonio Margheriti, 1967)
17. Winnetou und das Halbblut Apanatschi / Winnetou and the Half-Breed
(Harald Philippe, 1966)
The 9th Winnetou film and the 5th I've seen - apart from those numbered 1,2, and 3 (actually the 2nd, 4th and 7th films) there really isn't any meaningful continuity as near as I can tell, and in fact one of the main characters is killed in Winnetou - 3.Teil
so it really doesn't matter what order one watches them in. Not that most people will anyway, as these German/Yugoslavian productions remain much less well-known than even some of the lesser Italian productions. It's a shame really because, as I believe I mentioned in a review during last year's challenge, they're pretty different from both the American films of the 50s and early 60s and the spaghetti cycle, and the gorgeous Yugoslavian scenery gives you something very different to look at than the typically dry and parched Spanish exteriors you find in most Euro-westerns from this period. In tone they're closer to Hollywood I guess, though the deep friendship between Winnetou and his Apaches, and Old Shatterhand (played respectively here as in most episodes by Pierre Brice and Lex Barker) seems out of place in the more racist American films that were the norm; even when a white man is friends with an Indian it's never on the brotherly level we see in these films.
Anyway after all that intro is out of the way... this is unfortunately the weakest of the Winnetous I've seen by far, with a simple plot (gold mine that is supposed to go to halfbreed girl who is friends with Winnetou gets found by greedy whites, they plan to take it) turning into a very tiresome all-out war between a gang of criminals and the people of a town in which the whole damn town pretty much gets wiped out and dozens die. For nothing, really. I know the point of the film is about how lust for gold turns (white) men's hearts rotten but it's just not well thought-out and the whole thing just seems to be an excuse for a really huge ending set-piece, which is just OK. The beginning segment with Winnetou saving a young boy from an attacking eagle, is pretty good, and the music and scenery terrific as always, but this is not one to push on people who haven't seen any in this series - it might well keep them from watching more.
18. Lonesome Cowboys
(Andy Warhol, 1968)
I'm just going to echo what was said above - this is dull stuff, with sound so poor that very little can be understood in some scenes, not that the seemingly improvised nearly stream-of-consciousness dialogue is of much import. I guess it's a satire on the western on some level, OK, but it's mostly an excuse for lots of beefcake posing and almost a thumbing of the nose at any kind of conventional cinema. Which would be fine if it was cinematically interesting at all, and apart from a kind of neat use of jump cuts from time to time, it just isn't. Was Andy Warhol a "troll" as flavo suggests? I dunno. I've liked a couple of his shorts, found the two feature-length films I've seen (this and Vinyl
) fairly unbearable and tedious. I'm all in favor of shattering norms and showing us other sides of the world, of cinema, and I don't even necessarily dislike amateurism, but Warhol's world is an incredibly shallow, no, surface-oriented one, all cute guys strutting and fretting in cowboy fashions, a tale told by a poser, signifying nothing.
(Edward Dmytryk, 1968)
20. Viva Maria!
(Louis Malle, 1965)
21. Les pétroleuses / Frenchie King
Many people don't know this, but before Brigitte Bardot made headlines as an animal-rights activist and racist supporter of fascists and authoritarians, she was an actress, singer and sex symbol. True story! And she made three westerns and I just happened to watch them all in a row, an experience I don't really strongly recommend to anyone.
is far and away the best of them, a primarily British production shot on location in Spain, with an international cast headed by Sean Connery as your typical tracker/scout character who is a loner and much smarter than the stupid English hunters who go into an Indian reservation and arrogantly think they can fight off hordes of natives with their very small numbers (but superior fire-power). Connery of course argues that they'll all get killed, they don't listen, and he has to try to save them, helped by Bardot - one of the best shots in the bunch - but hindered at various times by her maybe-fiancee Peter van Eyck and other uppity Brits and cynical soldier types, including Stephen Boyd and Jack Hawkins. Woody Strode is also on hand as Chato, the most aggressive of the Apaches opposing them. Dunno why this has a low rating and never seems to get mentioned by anybody - it's nothing great, with a plot that's been done a million times, but it's well constructed and acted and reasonably exciting. Would be better if the zero hint of romance between Bardot and Connery that covers the first half of the film had been maintained - it's pretty silly seeing them make out when there are only a few of the group left and the Apaches could attack at any moment.
was, along with the Warhol western above, one of the last two films on the BFI list for me to see...Platinum now, baby. And you know, when the last couple of films you see on a list suck, you wonder if it was worth it - but then you're glad it's all done at least. This story of a French actress (Jeanne Moreau) and a French-Irish terrorist (Bardot) joining together first to do a travelling cabaret act in central America in the early days of last century, then transforming into revolutionaries, feels like Pontecorvo's Queimada
if it had been written and directed by the creative team behind Hogan's Heroes
. It doesn't start out so bad but it's just such a fucking stupid failed farce at the end that I couldn't wait for it to end. I've generally liked Malle's films, and I'm sure he was trying to do something interesting and different here - and he does succeed sometimes with weird genre mash-ups like Black Moon
a decade later - but for me at least this was just an unholy mess.
is a little better - but not much - probably because it's not trying so hard to do anything other than be a sexy, silly farce. Claudia Cardinale is the one sister and head of a family with four brothers who matches up against Brigitte Bardot and her four sisters (or are they just friends? wasn't clear, didn't care) for control of a property containing lots of oil. It takes place in a small town in Texas that was settled by the French, thus explaining why everybody (except Michael J. Pollard in an amusing turn as the sheriff) speaks French. Really just an excuse to see lots of hot European babes frolic around in their petticoats and dresses (hey, this is strictly PG territory except for one very brief shot) for an hour and a half, but that's enough to make it almost watchable.