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.Continue reading
Tag Archives: Luciano Pigozzi
It Was a Dark and Stormy Night….
This one sentence synopsis should sound familiar. A group of travelers are stranded during a severe storm at a creepy mansion where the hosts are the most unsettling part of the experience. It’s an audience-pleasing premise has served countless mystery thrillers and horror-comedies from James Whale’s The Old Dark House (1932) to The Rocky Horror Picture Show (1975) to Stuart Gordon’s Dolls (1987). But The Unnaturals (1969), directed by Antonio Margheriti, is one of the few dark and stormy night movies that stands out from the pack by virtue of its genre resistant narrative which begins as a decadent character study, slowly morphs into a supernatural thriller and signs off as an apocalyptic morality tale. Continue reading
Ernesto Gastaldi’s Seminal Giallo
With a tumultuous background of waves crashing against a rocky coast, a descriptive statement from Sigmund Freud on the meaning of libido scrolls down the screen. Part of the Austrian psychoanalyst’s quotation defines libido as “the energy, regarded as a quantitative magnitude… of those instincts which have to do with all that may be comprised under the word ‘love.’” But the film that follows is not about love but rather the perversion of it starting with an opening sequence in which a child witnesses the aftermath of his father’s violent S&M session with a female companion, an incident that scars him for life. Continue reading
Romain Gary’s Cinematic Overdose
How many times do you need to say Kill! In a movie title if you want to stress that it is about murder on an international scale? Apparently the distributors of this 1971 oddity were uncertain about that so they created various poster versions for the global market that ranged from four emphatic Kills! to a succinct single Kill! for promotional purposes. They covered all their bases but forgot to identify a target audience for this chaotic, frenzied and wildly improbable mash-up that freebases elements from conspiracy thrillers, secret agent exploits and sexual melodramas with a political agenda. Of course, you wouldn’t expect anything less from author-turned-filmmaker Romain Gray whose only other directorial effort was the pretentious art house mega-bomb Birds in Peru (1968), which starred his wife Jean Seberg as a suicidal nymphomaniac in the Caribbean. Continue reading