Bandit Gordon frees a group of prisoners, forcing them to join his gang or die. Arizona Colt, declining to do either, heads for Blackstone City where Gordon is planning a robbery. When one ... See full summary »
Witnessing an assassination, a boy claims the assassins are hunting him. With his older sister, the pair escape numerous attacks and are aided by their grandfather and a resourceful young ... See full summary »
A wagon load of convicts on their way to prison is being escorted through the mountains by a cavalry troop. They are attacked by a bandit gang, and only a sergeant, his beautiful young ... See full summary »
An elderly heiress is killed by her husband who wants control of her fortunes. What ensues is an all-out murder spree as relatives and friends attempt to reduce the inheritance playing ... See full summary »
When Andres and his partner are hired to recover some valuables from an airplane that went down in the Bermuda Triangle, they face not only human treachery but also the mysterious powers of an underwater civilization.
Mario, a young philanderer, receives 13 antique chairs in a bad state by inheritance and decides to sell off them to get some money. Afterwards he gets to know that one of them contains ... See full summary »
A laconic drifter, who calls himself Nebraska, is hired as a ranch hand by Marthy Hillman and his wife Kay who are under pressure from a ruthless landowner, named Bill Carson, who extorts money from the ranchers. When Carson sets his sights on Kay, Nebraska eventually decides not to stay out of it and plans to save Hillman from Carson's men and rescue Kay. Written by
The original director, Antonio Román, was fired by producer Fulvio Lucisano for his slow pace and not meeting the standards after directing less than 10% of the film. Although Mario Bava directed the bulk of the movie, he is not credited at all for directing it. See more »
The first time Kay and Nebraska kiss, the cameraman casts his shadow on Nebraska's back as he circles them. See more »
SAVAGE GRINGO (Antonio Roman and, uncredited, Mario Bava, 1966) **1/2
I managed to acquire this rare Spaghetti Western just in time for my ongoing Bava retrospective: in fact, I opted to start with it since this was one of only three titles I had never watched before. I wish I had the time to read through Tim Lucas' chapter on the film in his long-in-coming (and, thus, appropriately massive) Bava biography especially given his uncredited contribution here when, reportedly, he actually replaced Roman quite early into shooting! Anyway, this is one of four Spaghetti Westerns made by this cult figure and, having now checked out all of them, I can safely say it is the most satisfying (if still far from a key work for either director or genre); obviously, while Bava tried his hand at most any type of film within the "Euro-Cult" stable, he was clearly at his most comfortable (or, if you like, inspired) when handling fantasy/horror/thriller elements! Apart from the trademark inventive camera-work, one thing which alerts one to Bava's involvement is the presence of both hero and villain: one is the star of his previous Spaghetti Western entry, THE ROAD TO FORT ALAMO (1964; which was pretty decent in itself), i.e. brawny Ken Clark (hence, the U.S. moniker for this is more than a bit misleading!) and the other, Piero Lulli, would play a major role in one of the director's best films KILL, BABY KILL! (1966). Though usually one of the main assets, the score for this one is no great shakes nor is there a particular emphasis on violence (nevertheless, the action set-pieces are above-par for the course); what we do get is a reasonably engaging (if thoroughly unsurprising, even in making the heroine out to be something of a conniver) plot which keeps moving, thus allowing one little time to ponder on its potential shortcomings!
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