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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A Different Kind of Horror Film from Lucio Fulci

the_conspiracy_of_torture-posterIf Lucio Fulci had only directed the 1979 cult splatterfest Zombie, he would still warrant more than a footnote in any film history of the horror genre. Obviously inspired by the success of George Romero’s Night of the Living Dead and Dawn of the Dead, Fulci’s cult favorite pushed the zombie film into over-the-top excess with the famous eyeball-splinter scene and an underwater grudge match between a shark and one of the undead.

Zombie vs. Shark in Lucio Fulci's outrageous Zombi 2 (1979)

Zombie vs. Shark in Lucio Fulci’s outrageous Zombi 2 (1979)

It also launched a whole new genre in the Italian film industry which included such imitators as Cannibal Apocalypse, Nightmare City and Erotic Nights of the Living Dead (all released in 1980). Fulci went on to further heights (or depths according to his detractors) with such supernatural thriller gross-outs as City of the Living Dead (1980), The Beyond (1981) and The House by the Cemetery (1981). But what most Fulci fans and film buffs tend to overlook is the fact that he was once a director who could occasionally turn out a thought-provoking and artful work of cinema such as his 1969 historical drama, Beatrice Cenci.   Continue reading

Hamlet on the Range

Chip Corman is a pseudonym for actor Andrea Giordana

Chip Corman is a pseudonym for actor Andrea Giordana

The plays of William Shakespeare have provided a bottomless well of material for filmmakers as either faithful adaptations or unacknowledged inspirations since the birth of cinema. Yet, the western genre seems under-represented in this regard with only a few examples coming to mind such as a thinly disguised version of Othello (Delmar Daves’ Jubal,1956) or a re-imagining of The Tempest (William A. Wellman’s Yellow Sky, 1948) or a gender twist on King Lear (Edward Dmytryk’s Broken Lance, 1954).     Continue reading