Cut-Throats Nine (1972) review

CUT-THROATS NINE 1972 aka CONDENADOS A VIVIR (CONDEMNED TO LIVE) aka BRONSON'S REVENGE

Robert Hundar (Sergeant Brown), Emma Cohen (Cathy), Rafael Hernandez (Dick Patterson), Ricardo Diaz (Joe "El Comanchero" Farrow), Carlos Romero Marchent (Slim), Antonio Iranzo (Ray "The Torch" Brewster), Alberto Dalbes (Thomas Loren), Jose Manuel Martin (John "Weasel" McFarland), Manuel Tejada (Dean Marlowe)

Directed by Joaquin Romero Marchent

The Short Version: American westerns, having been one-upped in the violence category by the Italians, would outmaneuver them by the dawn of the 1970s. Spain, like a matador, entered the arena with one of the genre's most notorious entries, literally goring the hell out of the wild west. A nihilist western in the vein of Corbucci's THE GREAT SILENCE (1968), there's no one to root for and everyone is absorbed with either vengeance or greed or both. Heartfelt hatred drives the narrative in this one. A drastic turn halfway through causes the picture to lose some momentum, but gets it back again during the last half. Not for everybody, Marchent is very successful at maintaining a massively depressing atmosphere from beginning to end. With all the closeup shots of spurting blood and exposed viscera, one pictures Lucio Fulci having an epiphany.

Sergeant Brown, along with his daughter, Cathy, is tasked with transporting seven ruthless criminals on a 400 mile trek to the gallows at Fort Green. A family of half-starved robbers ambush the wagon, believing it to be carrying gold among its cargo. They kill the cavalry escorts but Brown, his daughter, and the chain-gang murderers manage to escape, crashing their wagon in the process. Impeded by rough terrain and a snowstorm, Sergeant Brown, determined to see the seven cutthroats arrive at their destination, has ulterior motives--to find out which of the seven convicts murdered his wife.

The Italians had been gradually taking the western into increasingly darker territory ever since Sergio Leone's FISTFUL OF DOLLARS debuted in 1964. Corbucci's THE GREAT SILENCE (1968) is arguably the zenith of demoralization where the genre was concerned. For abject pessimism, it's hard to beat. American oaters were veering in that direction as early as 1967, fully embracing cynicism with 1969s THE WILD BUNCH, and giving wide berth to a slew of imitations and defeatist westerns--many of which audiences couldn't have cared less about. Spain got in on the act with CUT-THROATS NINE garnering similar audience apathy. Marchent's movie did something none of the others had done, though, and that's place primary focus on mutilation and the sheer joy of his characters while inflicting it.

Sergio Corbucci had pioneered body maiming with DJANGO (1966) wherein a captive is force-fed his own ear and, in the same film, the title gatling gun-toting avenger has his hands trampled by horses. In NAVAJO JOE (1966), a major character has an axe placed square in the middle of his head; skull trauma cropped up again in JOHNNY ORO (1966) along with the gunning down of women and children. Other directors like Giulio Questi followed Corbucci's lead, adding Grand Guinol grue to his bizarro western, DJANGO KILL... IF YOU LIVE, SHOOT! (1967). Sergio #2 was merely cultivating the crop that Leone had planted. Director Marchent, on the other hand, would take the genre into shocking terrain that hadn't been explored up to that time.

Just as Marchent's earlier westerns occasionally looked and felt like their American-made counterparts of the classical Era, CUT-THROATS NINE follows the trajectory of the dystopian western of the Vietnam War Era. Totally avoiding the comedy trend that was big box office in Europe at that time, Marchent took the violence to places yet seen in the western genre; this wasn't violence on the level of dozens of extras bloodlessly mowed down with a gatling gun--this was akin to watching Olga Karlatos getting her eye skewered on a wood splinter in closeup in Lucio Fulci's ZOMBIE (1979).

In this picture you'll see limbs hacked away, bodies burned beyond recognition, eviscerations, throat slittings, and other grotesqueries in slow motion and closeup. Most westerns relegated their brutality to lingering death via hanging or blood squibs. This one takes an almost slasher movie mentality towards murdering its cast; only here, there's no masked maniac. Everybody is crazy, seeking revenge, or suffering from some past transgression. The one pure character, Brown's daughter Cathy, ends up gang raped and emotionally molested. In an earlier scene, she nearly freezes to death; considering how things play out, succumbing to the icy sting of a snow storm is preferable to violation by half a dozen slobbering cretins.

About as mean-spirited as they come, Marchent co-wrote the script with Santiago Moncada, packing it full of the most sadistic hombres this side of the Rio Grande. Not counting the four murderous gold-seekers who pop up every once in a while, there's only seven CUT-THROATS, despite the nine of the US title. Just past the halfway mark, the film descends further into the abyss, leaving little chance at something resembling a happy ending. The only respite comes in the form of brief flashbacks as the various characters reflect on better days or how they came to be in their situation. These scenes are the only moments of real exposition. The dialog serves little purpose other than to make the convicts as inhospitable and uncivilized as possible.

 
In a unique deviation from the norm, the driving force behind the main characters is less greed than it is outright hatred. Misanthropy is the stagecoach driver here. That's not to say the ubiquitous lust for gold plot device is absent, just it's overshadowed by the relentless lack of humanity. Many in the cast are murdered for the simple joy of it.

Regarding the requisite avarice, the writers put an ironic spin on it. The metal ties that bind the seven murderers together is more than just a chain. It's a striking metaphor that the seven men are literally enslaved by what they'd love to get their hands on--money; and if they can't escape death's embrace by the elements they'll never get the chance to spend it. However, they wish to see their captor, Sgt. Brown, dead even more. 

Sgt. Brown (Hundar), while a protagonist, is barely discernible from the villains. Driven by an inner loathing for the very men he's tasked with transporting to a military fort, he knows one of them is responsible for the death of his wife, but he doesn't know which one. For revenge, he's willing to kill them all if necessary. This is one area where the script is moderately weak. It doesn't fully explore his arc. Brown's true intentions are ambiguous. We know he wants revenge but the notion he may have eyes on taking the gold for himself is also raised.

Shot in the Pyrenees of Huesca, Luis Cuadrado's camerawork highlights the vast expanse of the snow-capped mountains and the isolation of the situation the characters find themselves in. The filmmakers take advantage of the locales, capturing some stunning shots of the ominous mountains dwarfing the cast as they make their way through harsh conditions. As for the actors, there's a rather long stretch of footage where Hundar is making his way through a rough snow storm carrying an unconscious Emma Cohen, occasionally dropping her into the snow after fatigue sets in. Neither actor has their head or hands covered. Cohen is especially convincing here as you never see her shivering at all.

Marchent was a director of six-gun cinema before Sergio Leone redefined it. Considered the pioneering force behind the genres explosion in Spain, Marchent has some shining examples bearing his name--whether writing, producing or directing.  He performs in all three capacities with CUT-THROATS NINE. The film, diametrically opposed to all his previous endeavors, was obviously of enough interest to put so much effort into it. His brothers, Carlos and Rafael Romero Marchent, are also actors; the former is in the film as one of the title miscreants and the latter is a director in his own right.

Joaquin's first shot at the genre as a director was with the Spain-Mexico co-pro's THE COYOTE and JUDGMENT OF THE COYOTE, both shot simultaneously in 1955 (and starring Abel Salazar; a familiar face to fans of Mexi-horror cinema). Collaborating with future trash flick kingpin, Jesus Franco, the two reportedly wrote scenes for both films in the morning that were shot in the afternoon.

His westerns are varied, but overshadowed by the notorious CUT-THROATS NINE. An irrefutably powerful movie, it's the only film in his western repertoire that is excessively bleak to the point of bordering on horror. Directing films in the classical, pre-Leone American style, Marchent would then adopt the sweaty Italian brand Leone instigated. CUT-THROATS NINE was his last as director, emulating the doom and gloom of the American filth westerns of the 1970s. Marchent died August 16th, 2012 at 91 years of age.

 
Whereas John Ford had John Wayne, Joaquin Romero Marchent had Robert Hundar (Claudio Undari). The actor worked on six of Marchent's westerns: THE SHADOW OF ZORRO (CABALGANDO HACIA LA MUERTE [1962]); THE IMPLACABLE THREE (TRE HOMBRES BUENOS [1963]); SONS OF VENGEANCE (EL SABOR DE LA VENGANZA [1963]); SEVEN GUNS FROM TEXAS (ANTES LLEGA LA MUERTE [1964]); $100,000 FOR LASSITER (LA MUERTE CUMPLE CONDENA [1966]); and finally, CUT-THROATS NINE (CONDENADOS A VIVIR [1971]). Working in peplums and modern crime pictures, Hundar was even better at playing heavies--which he often did.

The gore is surprisingly good; the work of Carlos Paradela (FURY OF THE WOLF MAN [1972]), HORROR OF THE ZOMBIES [1974]). As told by star Robert Hundar, the blood and guts was added at the behest of an American producer. It's unclear if these scenes were added in post, or suggested while the film was being made. At any rate, the scenes exist in both the Spanish original and the export version. The closeups and slow motion of the act of butchery foreshadows Fulci. Possibly the man famous for orbital destruction saw Marchent's movie at some point.

 
CUT-THROATS NINE has some rough spots, but otherwise it's a uniformly strong entry in the annals of Euro-westerns. For a film to have very little gunplay (there are no traditional gunfights), it does a fine job of keeping the viewer riveted... for a time. The aforementioned drastic turn midway through cranks up the depressing mood extensively; yet this is the point where the picture nearly freezes to death, stumbling around trying to find its momentum again. Thankfully, it finds it once the setting changes to a Way Station where the last acts of cruelty take place. Finishing with a denouement as dispiriting as the previous 90 minutes, CUT-THROATS NINE is well made quasi-trash from a capable director versed in translating a sense of humanity to the screen. For this, his last, Joaquin Romero Marchent decided to show humankind shorn of it--showing he was good at that, too.

This review is representative of the Code Red bluray. Specs and extras: anamorphic widescreen 1.85:1; original theatrical trailer; running time: 1:31:16.

 

Carambola (1974) review

 
CARAMBOLA 1974

Paul Smith (Len Lawson), Michael Coby (Coby), Horst Frank (Clydeson), William Bogart (Kelly), Luciano Catenacci (Capt. Howard Jackson), Franco Fantasia (Professor Max Lager), Nello Pazzafini (henchman), Pedro Sanchez (revolutionary), Pietro Cecceralli (Roger), Pietro Torrisi (prison guard)

Directed by Ferdinando Baldi

The Short Version: The Italians were masters of replicating popular movies well past the brink of copyright infringement; and they weren't hesitant to pirate their own pictures, either. One of the most blatant rip-offs of all time is this shamelessly verbatim THEY CALL ME TRINITY clone from genre specialist Ferdinando Baldi. All the famous Spencer/Hill routines are trotted out--from the balsa wood breaking, bare-knuckle brawls to the fast draw gun slap gag; some new, cartoonish ones are added to the mix as well. The resemblance to the actors--and the film--is uncanny. If only the original films magic was so easily copied.

After being arrested by Captain Johnson for possession of an illegal pistol, Coby, a billiards specialist and hustler, is hired, along with his burly, quick-tempered conman friend Len to capture gun runners at the US-Mexico border. Of particular interest to the traffickers is a new 50 caliber handgun worth a million dollars; and one that only the US army is supposed to have. To ensure Coby and Len follow through on the job, the two swindlers are set up with a price on their heads.

Italy cannibalizes its own with this Euro assimilation of the worldwide box office sensation THEY CALL ME TRINITY (1970) from DP turned director Enzo Barboni. American Paul Smith was teamed up with Italian Antonio Cantafora (often billed as Michael Coby) as the Trinity styled duo of Len and Coby. The facial likeness to the two famous Italian western stars was remarkable; even down to the clothes they wore. Naturally, this sort of flagrant cloning would never fly in America. Imagine a series of DIRTY LARRY movies! The Italians had gleefully hopped on the bandwagon for their own variations of Leone's films with Eastwood, but this TRINITY copy was a total forgery up one side and down the other.

 
Ferdinando Baldi isn't among the top tier of western directors, but he does have some works that stand alongside the best the genre had to offer. Virtually all of his westerns are different in some way; which makes the note-for-note recreation of a worldwide smash all the more peculiar. The only thing CARAMBOLA doesn't totally duplicate is the polish Barboni and his crew applied to his two TRINITY pictures. Baldi's counterfeit oater isn't without some entertainment value, though.

CARAMBOLA gets things off to a fine start during an outrageous pool hustling sequence wherein Coby shows off Bugs Bunny-like pool sharking skills with tricks that defy the laws of physics. This sequence, encompassing the opening ten minutes, is probably the creative zenith of CARAMBOLA; after this it shamelessly dovetails into the TRINITY schtick, even finding room to "homage" the TRINITYesque MY NAME IS NOBODY (1973) from Tonino Valerii. Kung Fu films were wildly popular at that time, and Baldi's hijacking of Barboni's classic characters manages to lampoon those movies, too, when it's not parodying the parody. 

 
Unfortunately, for all his familiarity with Terence Hill, Cantafora fails to imitate his athleticism and charisma. He jumps around a bit, but nothing as fluid as the lithe Hill (alias Mario Girotti). He does manage to faithfully rip-off the famous gun draw-face slapping joke of TRINITY IS STILL MY NAME (1971). It's funnier when Hill did it, but Cantafora succeeds in at least reminding you why those original films were so damn memorable in the first place.

From there we're introduced to Len doing about as good a Bud Spencer impression as you could ask for. Smith does most of the clobberin' in that typically repetitive, frequently unimaginative Italian style that kept the balsa wood industry busy during this period of the genre. One of his best scenes is where he carries his noticeably tired horse on his back! Another is where he pits his Herculean skill against an Oriental martial arts master and his Anglo students in a bit of kung spoofery. Smith would later find fame as Bluto in the live-action version of POPEYE (1980), a potentially homicidal gardener with a fondness for chainsaws in PIECES (1981), and as one of Baron Harkonnen's nephews in DUNE (1984).

Other than the flagrant likeness to Barboni's superior original work, there's not a lot more to say about this movie. It's entertaining enough, even if interest is sustained mainly out of curiosity for the brazen lack of originality. Ferdinando Baldi's western output has been wildly erratic, yet he's managed to helm some truly memorable, diverse pictures in the genre. TEXAS, ADIOS (1966), THE FORGOTTEN PISTOLERO (1969) and BLINDMAN (1971) are his best, most consistent works. His worst was the musical LITTLE RITA OF THE WEST (1967) and the Tony Anthony kitchen sink westerns, GET MEAN (1975) and COMIN' AT YA! (1981). Along with CARAMBOLA, HATE THY NEIGHBOR (1968) is just average.

Regarding the films title, Carambola means 'cannon' in Spanish; which presumably refers to the 50 caliber handgun that's worth its weight in gold to the bad guys. The obscure sequel, also directed by Baldi, CARAMBOLA FILOTTO... TUTTI IN BUCA (1975), translates to Carambola's Philosophy... In the Right Pocket; it has the duo of Smith and Coby in possession of a motorcar with a gatling gun mount.  

Obviously audiences couldn't get enough TRINITY style antics even if the carbon copy shenanigans were TRINITY-lite. The duo of Smith and Coby returned a number of times in a string of silly movies; those being the aforementioned CARAMBOLA'S PHILOSOPHY... IN THE RIGHT POCKET (1975), WE ARE NO ANGELS (for Gianfranco Parolini;1975), CONVOY BUDDIES (for Giuliano Carnimeo;1975), and THE DIAMOND PEDDLERS (again for Giuliano Carnimeo;1976). 

CONVOY BUDDIES is of special interest. Filmed in 1975 as SIMONE E MATTEO: UN GIOCO DA RAGAZZI (SIMONE & MATTEO: CHILD'S PLAY), Edward L. Montoro of Film Ventures International bought distribution rights from PAC (Producioni Atlas Cinematografica) and proceeded to do a little cloning of his own. Sam Peckinpah's CONVOY (1978) had been shooting in '77 and apparently Montoro wanted to cash-in before that picture hit screens across the country. Since the Smith/Coby team was a clone of Spencer/Hill, Montoro ripped off the rip-off by mauling Paul Smith's and Michael Coby's names; changing them to Terrence Hall and Bob Spencer! In 1978, Paul Smith sued FVI for "reverse palming off"--removing his name and replacing it with another. Smith claimed the credit substitute damaged his reputation and acting prospects. The case was dismissed but remanded at least once, finally decided in 1981, although the eventual outcome is unknown. It's a bit ironic that Paul Smith would co-star in a set of films banking off his likeness to Bud Spencer while becoming incensed that he was then marketed in America as a Bud Spencer clone!

For all its apeing of better material, CARAMBOLA is undeniably preferable to at least a few hundred instances of wasted celluloid of the genres 600+ productions. The score consists mostly of a loop of 'You Can Fly', a bubblegum pop song by some group named Dream Bags(?!). It's a very catchy tune, and acts as a built-in drinking game--every time you hear the song, you take a drink. It pops up whenever a fight breaks out, which is every few minutes--so have them shot glasses ready. If you've seen the two TRINITY's, this one is worth tracking down; otherwise skip it. The Italian western version of New Coke, Ferdinando Baldi's copycat tumbleweed tale will just make you want the real thing instead.

The source of this review (dubbed in English) is from a cable airing.

Giuliano Gemma: Requiem for Ringo

"Giuliano is a legacy and symbol of Italian cinema." -- Pasquale Squitieri, director of Gemma in 1977s IL PREFETTO DI FERRO (THE IRON PREFECT) aka I AM THE LAW 


The Italian western genre is one of Italy's most famous exports with fans all over the world. They have been a great influence on the American western just as much as the North American classic oater had inspired Europeans to brand their own interpretation of the wild west. Directors and actors have all played a major role in the genres universal success. 

One of the most popular international box office stars to emerge from the Italian cinema scene was Giuliano Gemma, a man who quickly became as synonymous with the genre as his American counterparts, Clint Eastwood and Lee Van Cleef.

Covering his best works predominantly in the Euro-western field and beyond, this article is a tribute to the late actor, Giuliano Gemma, the Man with the Million Dollar Smile.
 
Born on September 2nd, 1938, Giuliano was, in his own words, born to be an acrobat. Fiercely athletic in his younger years, he enjoyed gymnastics, and had a brief career as a boxer before becoming employed as a stuntman at the renowned Cinecitta Studios. Equally passionate about movies, his first acting gig came in 1958 with Dino Risi's VENICE, THE MOON AND YOU. Reportedly, he was hired because the director thought he looked like Marlon Brando. The following year, William Wyler chose him to appear as a centurion in BEN HUR (1959) -- one of a number of American productions that shot at the fabled Italian studio.



Eventually realizing his dream of becoming a Silver Screen star, he appeared in Sword and Sandal pictures in roles of varying size. His breakthrough came in 1962 with his role as Krios (see above), the son of Jupiter in Duccio Tessari's ARRIVANO I TITANI aka MY SON, THE HERO; and also under the title SONS OF THUNDER. His hair was dyed blonde for the role. This would begin a lucratively prosperous working relationship for the actor and director Tessari in the ensuing years.

Gemma labored on lesser peplum adventures such as two with American Richard Harrison with TWO GLADIATORS and REVOLT OF THE PRAETORIANS (both 1964). He also co-starred with American Lou Degni, aka Mark Forest in the vastly inferior HERCULES AGAINST THE SONS OF THE SUN (1964; see insert). In this film, he plays an Incan prince who aids Hercules (after being shipwrecked on a South American island) in toppling a usurper.

Gemma did headline one sword slinging Italian adventure as Erik the Red in ERIK THE VIKING (1965), aka VENGEANCE OF THE VIKINGS -- where he essentially discovers America some 500 years before Columbus; and does battle with a scenery devouring Gordon Mitchell.



One of the actors best roles during his Torch & Toga tenure was co-starring with Mimmo Palmara alongside lead star Mark Forest in the epic entertainment of GOLIATH & THE SINS OF BABYLON (1963).  This production would mark the first of another great partnership with director Michele Lupo that would last some 15 years. Between Tessari and Lupo, Gemma would formulate a memorable series of western films that are beloved to fans over 40 years running.

"God created men equal... the six gun made him different." -- A PISTOL FOR RINGO (1965)



With the overwhelming success of Leone's FISTFUL OF DOLLARS (1964), Gemma would again team with Tessari for the film that would cement his popularity around the world. A PISTOL FOR RINGO (1965) was not only unique for its Christmas setting, but also in its lead character. Ringo, alias Angel Face, was a deadly gunslinger with a wagon load of sarcastic wit and a preference for milk as opposed to alcoholic beverages. He was essentially a live action version of Bugs Bunny -- always one step ahead of everyone else; and even in compromising situations, he's able to barter his way out of any ordeal and make a fool out of the bad guys before sending them to their maker. With all his cunning, and mischievously dangerous methods, Ringo was a clean-shaven hero at a time when facial stubble was quickly becoming the rage. 

In both the Italian and US cuts, Gemma uses the pseudonym, Montgomery Wood. Gemma's Ringo is arguably one of the most memorable western characters of all time. Ennio Morricone's magnificent score bore a theme song that was a top ten radio success that only added to Gemma's popularity in his home country.

"Dead, huh? Well, they say 'Early to bed, early to rise gets you shot between the eyes'." -- A PISTOL FOR RINGO (1965)

 

A PISTOL FOR RINGO was a huge hit for the actor and a sequel was inevitable. This time, Gemma's real name appeared in the credits with his Americanized handle in smaller font, and in brackets. Titled RETURN OF RINGO (1965), this second pistolero picture shared the same cast and crew as before, but little else to link it to the previous production. It, too, was a big success. Gemma went for a hardened, serious approach here in what amounted to a sagebrush re-telling of Homer's 'The Odyssey'. Tessari went for a more Italian tinted oater this time, as opposed to the singular American style of PISTOL. 

Gemma is seen onscreen with a full beard for a good portion of the movie. He was often chastised by fans for his lack of stubble, but he did sport beards on a few occasions (BLOOD FOR A SILVER DOLLAR (1965) is one example), albeit briefly. Morricone delivers another stellar score ensuring a classy production.



Gemma's box office stability was soaring and ARIZONA COLT soon followed in 1966. This time Gemma was under the direction of Michele Lupo in what amounted to an unofficial third RINGO movie. The similarities were striking -- the wily, delightfully cunning arrogance of Tessari's original RINGO is heavily in evidence here. There's even a reference to his love of milk, among other things. Francesco De Masi delivered a grand Morricone style score and the trailer did a magnificent job of selling both the film and its star.



Aside from what's already been mentioned, Giuliano implemented his gymnastics background into his westerns. Any number of times he can be seen jumping, leaping, flipping, or diving from the bad guys and their bullets. This concept of the nimble, elastic hero became de rigueur once THEY CALL ME TRINITY exploded in 1970. Prior to that, it was a staple of Gemma's big screen characters that was also adopted for other Italian six-gun pictures.

Both prior, between, and after his two popular RINGO movies, Gemma did a few American style westerns for Giorgio Stegani (George Finley); and an adventurous, if conveyor belt-like trilogy of sorts for Giorgio Ferroni (Calvin J. Padget). For Stegani there was ADIOS, GRINGO (1965), while BLOOD FOR A SILVER DOLLAR (1965), FORT YUMA GOLD (1966) and WANTED (1967) were all for Ferroni. In 1971, Gemma was again guided by Ferroni when he headlined as Robin Hood in the star-studded, and rare L'ARCIERE DI FUOCO (THE FIERY ARCHER).

"With each of these last six bullets I'm gonna send six of them to hell!" -- Gemma in ADIOS, GRINGO (1965)



Stegani's ADIOS, GRINGO (see above pic) was yet another top hit for the handsome actor. Loaded with fights, its standard action plot no doubt capitalized on the massive success of the two RINGO's. This film, like the trilogy Gemma did with Ferroni, all have similar plot threads -- Gemma's character must clear his name of blame for some brutal act of violence. This scripting element would also turn up in some of his later movies. Of the quartet, FORT YUMA GOLD (1966; see insert pic) is the most expansive in its Civil War Era setting.



1967 was an especially interesting year for the actor. Other than the average WANTED, he starred in two big westerns that gave him the opportunity to further his acting range. The most ambitious of these was the Christmas release of Tonino Valerii's DAY OF ANGER (1967). It wasn't just a great story and exceptional characterizations that made this movie intriguing, but the pairing of Gemma with Lee Van Cleef. The European marketing made the most of this team-up, yet the US campaign virtually ignored Gemma focusing all the attention on Van Cleef; masking the fact that he was the villain in the movie. 



Earlier in February of that year saw the release of what was essentially a western version of 'The Count of Monte Cristo' with Florestano Vancini's THE LONG DAYS OF VENGEANCE (1967). With some of the cast of Tessari's two RINGO pictures on hand again, the viewer will feel a sense of familiarity with the whole affair. However, the story is much deeper than usual with a menagerie of characters and motivations. In addition to some fitfully suspenseful moments (the barber scene for instance), the action sequences are also varied. Aside from standard shootouts, Gemma's Ted Barnett (already an ace gunfighter) occasionally uses trickery to overcome those he's seeking revenge against. An above average, if overly long western movie with a few memorable sequences.



The western hero with the whitest of teeth next appeared in the sort of western that would flood the marketplace in 1970. Giulio Petroni's AND FOR A ROOF A SKY FULL O' STARS (1968) paired Gemma with Mario Adorf (THE SPECIALIST [1969], MILAN CALIBER 9 [1972]). It was an oddly structured western film beginning and ending as a very serious western, while the middle section went for comedy in a prototype of what Terence Hill and Bud Spencer would get up to in THEY CALL ME TRINITY (1970). The only thing consistent was Ennio Morricone's score.



ALIVE, OR PREFERABLY DEAD (1969) was a full on buddy comedy. Reuniting Gemma with Tessari, the film revisited RINGO's Christmas setting in turn of the century New York before switching over to more familiar horse and buggy territory. The film was a chase picture that bridged traditional western trappings with an encroaching modernism. It's all played for laughs, though, save for a few violent moments. Just as AND FOR A ROOF A SKY FULL O' STARS teamed Gemma with Adorf, this full on comedy paired the actor with his friend, champion boxer Nino Benvenuti (see insert and above photos). The fights are extraordinarily good; and both Gemma and Benvenuti have a great clash in and around a mud-caked valley. The sort of comedy and fight choreography found here is of the TRINITY school, although Tessari's movie emerged nearly a full year before Enzo Barboni's iconic motion picture struck gold across the globe.

Speaking of THEY CALL ME TRINITY (1970), Gemma participated in another buddy western in 1972 entitled BEN AND CHARLIE. George Eastman (Luigi Montefiori) was in the Bud Spencer role while Gemma was channeling Terence Hill. This one was a clear cut TRINITY clone. Not a bad western, but virtually interchangeable from the dozens of other brainless, balsa wood breaking comedy westerns in theaters at this time. In 1973, Gemma took Hill's place for Barboni's hit film, EVEN ANGELS EAT BEANS alongside Bud Spencer. The following year, a sequel (known as CHARLESTON outside of Europe) emerged with Gemma returning, but Spencer laid out with Swedish Olympic medal winner Ricky Bruch taking his place.

Giuliano's last movie of the 1960s was a serious, politically charged affair that melds presidential assassinations and racial tensions. THE PRICE OF POWER (1969) reunited Gemma with Valerii after the magnificent, and character driven endeavor, DAY OF ANGER (1967). Bereft of the usual theatrics, action packed style of Gemma's previous movies, it's a more somber affair with the actor attempting to find the conspirators behind the assassination of the president. In some territories, the picture was marketed as a Ringo movie.




In 1975 he worked with Sergio Corbucci in one of the worst westerns of that decade, THE WHITE, THE YELLOW, THE BLACK. Gemma headlined a cast that included co-stars Tomas Milian and Eli Wallach. This painful wild west comedy has an occasional good gag, but mostly it just makes you want to gag. 



Two years later he returned to the genre with two pictures that were of grittier stock; and two that heralded the dying days of the this type of film. These were CALIFORNIA (1977) for Michele Lupo and SILVER SADDLE (1978) for Lucio Fulci; the latter of which Gemma enjoyed working with very much. Gemma's last two oaters of the 70s lacked the pulp style whimsy of his earlier movies. In 1985, the actor teamed once again with Duccio Tessari for a live action version of the popular Tex Willer comic strip character with TEX AND THE LORD OF THE DEEP (see above photo).



It was also in 1985 Gemma met journalist and film critic Daniela "Barbara" Richerme for the first time. They would meet again in 1995 while the actor was coping with the loss of his first wife, Natalia Roberti -- with whom he had two daughters, Giuliana and Vera. Gemma and Richerme would marry September 11th, 1997.

Throughout the 1970s, Gemma would frequently put down the gun holster and lend his talents to other genres such as crime films (THE MASTER TOUCH [1972], THE MAGNIFICENT DAREDEVIL [1973], I AM THE LAW [1977], A MAN ON HIS KNEES [1979]), war pictures (CORBARI [1970], THE BIGGEST BATTLE [1978]), and comedies (WHEN WOMEN HAD TAILS [1971], AFRICA EXPRESS [1976], SAFARI EXPRESS [1977]). 

Among his resume, Gemma shared the screen with a number of well known and famous personalities such as Kirk Douglas, Ursula Andress, Jack Palance, Stacy Keach, John Huston, Henry Fonda and others.

In the 1980s, he added horror to his oeuvre with the role of the inspector in Dario Argento's TENEBRE (1982) starring Anthony Franciosa and John Saxon.

He continued to act in movies and eventually made the transition to television. One of his most recent movies was TO ROME WITH LOVE (2012) from director Woody Allen.

"Clint [Eastwood], you're a great actor and director. If you want to do a film together, call me and I will come running." -- Giuliano at the Giffoni Experience Film Festival of 2012

It wasn't all escapist entertainment for the acrobatic, charismatic actor. Aside from his most popular and memorable heroic interpretations in westerns, Gemma featured in cinema of a more high-minded, intellectual sort. Luchino Visconti's expansive epic THE LEOPARD (1963) is one of these films. Burt Lancaster was the lead star. The American actor was a favorite of Gemma's so this was a dream come true for him. French actor Alain Delon, Claudia Cardinale and Terence Hill were also among the cast. 

In 1976 Gemma won Italy's prestigious David di Donatello award (their Oscar) for his role in DESERT OF THE TARTARS from director Valerio Zurlini.

Aside from that award, Gemma was the recipient of numerous other awards recognizing him for his work in the industry. These included a bounty of film festival tributes and honorary awards.

Even more still was Italy's version of the Golden Globe, the Globi d'Oro that Gemma won in 2008. That same year, he also won the Nastri D'Argento (Silver Ribbon) Lifetime Achievement award. Some of his public appearances were to keep his image fresh in the minds of his fans, and new ones who may have discovered his heroic movies on television and DVD. In 2007, Gemma's daughters launched a clothing line with an Italian western theme; which Gemma himself helped promote (see insert photo).

In 2012 at the Giffoni Experience Film Festival, his daughters unveiled a documentary about him detailing his life and career titled GIULIANO GEMMA: AN ITALIAN IN THE WORLD. At this event, Gemma expressed interest in making a film with Clint Eastwood. This event would be among his last public appearances.

According to those who knew him best, Giuliano never let his ego consume his integrity. Even after years of success, he remained as humble as he was before he became one of Italy's best loved film stars. 

Reportedly, he sometimes did films for little pay merely out of passion for the project -- such as the war picture CORBARI. Gemma took foreign rights in exchange for a paycheck. He was a passionate, dedicated actor and husband who worked hard to deliver great entertainment for his audience. 

In 2010, Gemma began publicly showcasing another lifelong passion of his -- sculpting. A number of his exhibitions were made available in various Italian cities with objects ranging from animals, to boxers, to Hercules and to various examples of the female form.

"Guiliano's death deeply affects me. He was not only beautiful, but also a wonderful, extraordinary person. We were the same age... I always had a very nice working relationship with him. His death is terrible for all of us who met and worked with him. For Pasquale Squitieri, Franco Nero, for me, we're all a little more alone." -- an excerpt from Claudia Cardinale on Gemma's passing.

On October 1st, 2013, the great Giuliano Gemma left this world after a head on collision took his life in Cerveteri near Rome. He died of cardiac arrest shortly after his arrival at the San Paolo hospital. Before he died, Giuliano was able to put in one last call to his wife. By the time she reached the hospital, the man who dazzled audiences as Ringo, Arizona Colt, and a slew of other stoic, big screen heroes had passed away.  He was 75 years old.

"The death of Giuliano is one of the ugliest shots I've ever taken in my life." -- Nino Benvenuti on Gemma's passing.



Just two days prior to his death, Gemma was a guest at the Terra Di Siena Film Festival where he received a Lifetime Achievement Award (see photo above). At this festival, a restored version of DESERT OF THE TARTARS (1976) was screened.



For over 50 years, Giuliano Gemma has touched the lives of many people both with his onscreen characters, and his offscreen one. He's enthralled audiences the world over with his spirited interpretations of Silver Screen heroes. Whether he was essaying wily western gunfighters, men of adventure, military leaders, or historical figures, the Man with the Million Dollar Smile gave his fans their money's worth. Italy may be famous for its pasta, but it's also famous for Giuliano Gemma -- now gone, but never forgotten.

***For more information on Giuliano Gemma, click HERE for this excellent article on him posted at the Spaghetti Western Database.

For this article, some of the anecdotes, information and photos were taken from various Italian websites.***