The Man with Gunsight Eyes

Lee Van Cleef in one of his most iconic and entertaining spaghetti westerns, SABATA (1969), directed by Gianfranco Parolini.

With his lean, angular features and narrow, piercing eyes, Lee Van Cleef had the sort of presence you didn’t easily forget in supporting roles, especially villainous parts in westerns (Gunfight at the O.K. Corral, The Bravados) and crime dramas (Kansas City Confidential, The Big Combo). Unfortunately, it took more than 12 years and over 100 film and TV appearances before the actor finally moved into leading roles after a career that began in 1952 with his debut in High Noon. And like Clint Eastwood, he finally found fame in Italy when he was almost forty, opposite the former Rawhide TV star in Sergio Leone’s For a Few Dollars More (1965), the sequel to Eastwood’s star-making breakthrough in A Fistful of Dollars (1965). After The Good, the Bad and the Ugly (1966), in which he played “the ugly” Angel Eyes in the final installment of Leone’s Dollars trilogy, he carved out an impressive career in some of the best spaghetti westerns of the late sixties and early seventies such as The Big Gundown, Death Rides a Horse and Day of Anger (all 1967). Less serious than those but just as entertaining is Sabata (1969), which adds some tongue in cheek humor, gymnastic action and fancy weaponry to the spaghetti western formula. 

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Voyeur Villa

Sometimes a film poster doesn’t offer enough information to let you know what kind of movie to expect. Take, for example, Eyes Behind the Wall (Italian title: L’occhio dietro la parete, 1977). The Italian poster suggests it might be an erotic drama with its image of an older man touching the exposed thigh of a younger woman. The background paraphernalia and laboratory setting could also indicate a sci-fi or horror premise. The American poster for the film displays a demented face, an oversize bloody knife and a topless female victim in the style of a trashy giallo. The simple truth is that Eyes Behind the Wall is hard to classify and doesn’t easily fit into any specific genre although you could file it under Eurotrash. While the film is problematic in many regards, it still manages to be consistently intriguing and unpredictable.

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