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This sequel is the third part from ¨Sergio Sollima trilogy¨ , starred
by Tomas Milian , as roguish Cuchillo and formed by ¨Big gundown¨,
¨Face to face¨ and this one . Now as absolute starring , Tomas Milian
supported by Donald O'Brien in similar role to Lee Van Cleef from ¨Big
gundown¨ . It's set during early Mexican revolution with Porfirio Diaz
governing , approximately in 1910s . The McGuffin is a hidden treasure
by Benito Juarez beyond frontier . The revolutionaries aren't Pancho
Villa or Emilio Zapata , but is an imaginary Santillana , well
performed by John Ireland in a brief acting . The Cuban Tomas Milian,
as usual, puts faces, grimaces, crying and overacting , but he plays
splendidly . Enjoyable appearance by also Cuban , the gorgeous Chelo
Alonso, usual of Peplum and Western : ¨The good, the bad and the ugly¨.
Furthermore, there appears Italian Western usual secondaries as Jose
Torres , Gianni Rizzo, Luciano Rossi and Rick Boyd.
This Zapata-Western is inferior than previous entries but displays stirring adventures , shootouts, riding pursuits and is pretty amusing . Sensitive musical score by Bruno Nicolai , replacing the great Ennio Morricone , former films composer . Colorful and evocative cinematography by Mancori , showing marvelously the habitual Almeria (Spain) outdoors. The picture was well directed by Sergio Sollima that would be his last Western and following directing successes such as ¨Sandokan¨.
Imagine an Italian western inspired by Marx - not Groucho, but KARL.
Springing from the loins of the European mini-revolutions of 1968 comes
a western with a conscience, courtesy of spaghetti socialist Sergio
Sollima, who recycles his most memorable character from the 1967 The
Big Gundown and builds an entire film around him.
Cuban-born Tomas Milian returns as Cuchillio, a wily yet endearingly naive opportunist who's quick with a knife but not so quick on the uptake. A quick spell in a border prison sees him share a cell with a seditious poet named Rodriguez, whose dying breath reveals the last resting place of a $3 million cache of revolution-bound gold. And so begins Cuchillio's journey, spreading his proto-revolutionary seed across the Texas border whilst pursued by a sleazy assortment of cutthroats and would-be revolutionaries, spaghetti western regular Donal O'Brien playing a sheriff with a conscience, two French secret agents, his jealous fiancé Dolores (played by the fiery Chelo Alonso), and a blond sergeant in the Salvation Army, a woman who sticks out of her unlikely surroundings like a turd tambourine. Cuchillio himself spends most of his screen time bound, gagged with dynamite, spreadeagled in some godforsaken location, or in one stunning sequence, strapped to the blade of a windmill. And STILL He doesn't lose his sense of humor.
Like The Good The Bad And The Ugly it's a deliberately open-ended epic quest for hidden treasure, but without Leone's grandiose scale and pretentious camera histrionics. It's more like The Wizard of Oz wrapped in a burrito, and peppered with the most random of supporting characters. The usual grimness of these spaghetti westerns is contrasted with Tomas Milian's comic timing, a rousing score by an uncredited Ennio Morricone, and a surprising cameo from veteran American actor John Ireland as a crusty, battle-scarred soldier of the class struggle.
Socialist westerns don't usually come this entertaining - come to think of it, socialists are rarely funny at all! So enjoy the picaresque, picturesque and thankfully undogmatic 1968 Run Man Run.
(aka: RUN, MAN, RUN)
Decent sequel to Sollima's great spaghetti western, THE BIG GUNDOWN (1966), this one involves the return of Cuchillo (Thomas Milian) who helps revolutionary Santillana (John Ireland in a small role) return $3,000,000 in gold from Texas back to Mexico. Cuchillo also makes a promise to an old revolutionary before he dies to also help return the gold in order to help finance the revolution and overthrow the dictator, Porfirio Diaz.
But Cuchillo also has to deal with former sheriff Cassidy (Donal O'Brien) who also wants the gold for himself. Then there are the French assassins and bounty hunters who also want a share as well as blond Salvation Army turned gold huntress Penny (Linda Vargas) and many other bandits, too numerous to name. As comic relief we have Cuchillio's girlfriend (Chelo Alonso) following Cuchillio across the desert, trying to force him to give up the search for the gold and marry her. Cuchilio's relationship with her can be funny at times.
The nighttime gunbattle in the Texas town with the Mexican bandits is suspenseful as we see Cuchillio go to work on the bandits with his slick knife throwing skills as he kills each bandit, one after the other. It doesn't hurt that Cassidy also helps him since he needs Cuchillio to help him find the gold. The two of them eventually find out that the gold was melted down into the shape of an old printing press and painted black in order to hide it. Now that's an imaginative touch instead of the usual cave or hole in the ground plot device where people want to hide gold.
The ending is roughly the same as in THE BIG GUNDOWN only not as good since Donal O'Brien can't hope to top Lee Van Cleef in the earlier film. In fact, if there's one big flaw about this film, it's that Van Cleef isn't in it. Otherwise I'd rate it a couple of notches higher.
Blue Underground's anamorphic DVD looks pretty good and the sound and dubbing is excellent. As an earlier reviewer mentioned, there is an interview with director Sollima and Milian and their reflections on the film, as well as an interesting 1969 mini-documentary on the making of spaghetti westerns and their (then) popularity in Italy, including behind the scenes looks at this film as well as Sergio Corbucci's THE GRAND SILENCE (1968).
Decent flick although I think there are better.
6 out of 10
Sergio Sollima's "Corri, Uomo, Corri" aka. "Run, Man, Run!" of 1968 is
a great and very funny sequel to his 1966 masterpiece "La Resa Dei
Conti" aka. "The Big Gundown". As Sollimas two other Westerns, this is
once again a quite political film, but unlike "The Big Gundown" and
"Face To Face", it is so humorous, that it could actually be described
as a Spaghetti Western Comedy.
After a dying revolutionary entrusts the hideout of a fortune to him, Mexican petty thief and excellent knife thrower Cuchillo (Tomas Milian, who already played Cuchillo in "The Big Gundown") is chased through the Mexican/Texan borderland by a gang of Mexian bandits, two French mercenaries, who work for the Mexican government, and Nathaniel Cassidy (Donal O'Brien), an American gunslinger who, although primarily interested in money, still has some of his former ideals left. Furthermore Cuchillo is constantly followed by his loving girlfriend Dolores (beautiful Chelo Alonso), who is sexy and passionate, but also very jealous and short-tempered. On his run, Chuchillo first meets, and travels with a pretty blonde Salvation Army activist called Penny (Linda Veras), much to Dolores' disfavor, and later teams up with Cassidy against their mutual enemies.
The acting in this movie is great, especially Tomas Milian (one of my favorite actors) and Donal O'Brien deliver excellent performances as the two main characters. The supporting cast is also very good, the legendary John Ireland has a small role as a the leader of a Mexican revolutionary squad. The cinematography is great, and so is the music by Bruno Nicolai and Ennio Morricone. Many scenes in movie are very memorable, some of them very funny , a Mexican bandit gang leader orders his wife to hold off on giving birth to their child for a few days for example, because he doesn't want his son to be a "Gringo" born in the US, and the French hit men played by Luciano Rossi and Marco Guglielmi are two very satirical villains.
Maybe not quite as brilliant as "The Big Gundown", but still an excellent movie, "Run, Man, Run!" is a witty, great and very entertaining Spaghetti Western, a must see for genre-fans, but also recommended to everybody else.
This film reuses the lead character of LA RESA DEI CONTI and is the
third of the Sollima/Milian series. Cuchillo (spanish for "knife") is
pretty skilled with this weapon and proves its usefulness in a lot of
occasions. During the plot he acts as a maverick, with the only help of
his fiancé Maria who wants him finally to get married. As a cultural
counterpoint there is the other maverick Cassidy who is depicted as
Nordic precise and cold. While being competitive at first they later
join for purpose. Overall this sequel suffers from an overload of duel
and fighting situations which often seem to be completely senseless,
e.g. the duel between Cassidy and José in the beginning. The revolution
is not more than a background. Less characters and more character
development would have helped. Milian plays with his typical humor and
very often we see his suffering face in repetitive scenes of torture. .
Recommended for fans of the genre and of Milian. Rich daughter Penny
(Linda Veras) is working for the salvation army and wears black
fish-net stockings which I consider a minor inaccuracy ;-)
The Nicolai/Morricone score is nice but too hammering for my taste, cinematography is well above average. For me this film is the most humorous of the 3 Sollimas.
Tomas Milian returns as Cuchillo, a petty thief who after being
imprisoned helps his cell-mate and himself escape. He then gets
entangled in a run to get the 3 million dollars in gold that his
cell-mate, whom also happens to be a Mexican Revolutionary, hid in a
town across the border in Texas. He's chased by his overbearing
girlfriend who wants desperately to get married, a bounty hunter
(Donald O'Brien), as well as some others.I have yet to see "The Big
Gundown", so I can't compare the two, but I really enjoyed this movie
and found it to be humorous well still maintaining some good action.
And I certainly liked it much more then the previous Thomas Milian film
that I've seen "Se sei Vivo spara" (Django Kill, if you live shoot)
My Grade: B+
Blue Underground DVD Extras: Part of BU's Spaghetti Western Collection. Uncut; 17 minute'Run man Run: 35 years Running' Featurette; 38 minute 'Westerns Italian Style' Featurette; Italian Main Titles; Posters & Still Gallery; Talent Bios for Sergio Sollima & Tomas Milian; Theatrical Trailer
3 Easter Eggs: Highlight the hidden knife in the Extras menu for Trailers for "Django", "Dajango Kill", and "A Man Called Blade"; Highlight the knife in the main menu for Tomas Milian telling of his run with a tax man; The hidden knife over the face in the Chapter Select menu for an unsubtitled interview of some sort
"Run, Man, Run" (1968) is a Revoloutionary Spaghetti Western directed
by the third "Sergio" (after Leone and Corbucci) Sergio Sollima. It
stars Thomas Milian as Cuchillo the peasant, reprising his role from
"The Big Gundown" (1966), who becomes involved in the hunt of a large
cache of gold in Texas.
This is a semi-sequel to "The Big Gundown", but like the Dollars trilogy one can be watched without the other and no confusion arise. In fact, it is probably best to watch this and not compare it to the two previous Sollima Westerns as this movie will be found wanting, which is not to say it is a poor film. Quite the opposite, it is very well directed, acted (especially by Milian), scored by Bruno Nicolai (although allegedly Ennio Morricone gave a helping hand) and the cinematography by Guglielmo Mancori is fantastic. It is just that in this picture what you get is absolutely what you see; there isn't any Fascist allegory hiding underneath like there is in "Face to Face" (1967) or the character complexities there is in "The Big Gundown". Perhaps because Sollima is a better director than scriptwriter (this is his only Spaghetti Western where Sergio Donati doesn't have a screenplay credit). Still, this is a very good Western, way above the average fare and a film anybody with even only a superficial knowledge of the genre will acknowledge as a great.
Hitting hard is the idealistic tone and free-flowing spirit that engraves itself in director Sergio Sollima's sprawling spaghetti western (a semi-sequel to "The Big Gundown (1966)") starring Tomas Milan as the simple, but lethal knife slinging protagonist Cuchillo. While the material is heavy on the comic banter and physical mishaps, it never loses balance of the strenuously meaningful political side of the story, as Sollima agreeably pulls it off. There's bounce, and zippy energy as it moves along quickly enough, despite its lengthy story and open-ended conclusion for another expansive adventure to begin. Rich varieties of characters (maybe too many) come and go with a lot of minor stories branching of the central premise. This leaves the story feeling loose. So pretty much something is always happening, but the resolutions and overall intentions come off cloudy in this largely chatty script. There's a lot of running, but just as much talking. Sollima skilfully directs with bold compositions and controlled precision in his grand set-pieces. His camera-work imagery and widescreen placement is professionally executed, and imaginatively snappy. The rough and scorching desolate backdrop never looked so sumptuously rich. Adding to the drama was Bruno Nicolai and Ennio Morricone's downright superb alarmingly scheming and melodic score. The performances are truly wonderful. Milan's ferret manner always amused, and Donal O'Brien brings out an intriguing performance. The passionate performances came from two fiery ladies; Linda Veras and Chelo Alonso. They were great! John Ireland has a small, but potently hearty and flavorful role as Mexican revolutionary General Santillana. Quite a fun and well-made spaghetti western, but it does take quite a lot out of you.
*** This review may contain spoilers ***
This humorous Spaghetti Western was rather enjoyable, a feel-good SW, if you will! The story follows Cuchillo, a happy-go-lucky thief and knife-throwing expert, who gets pulled into a race for a large amount gold, which is supposed to be used to fund the Mexican Revolution. Of course, there are several other greedy bandits after it as well. The story is adequate, but not really original, and the action is paced nicely and pretty cool to watch, seeing that it usually involves flying knives. The real value of this movie, though, is in the character of Cuchillo, excellently played by Tomas Milian. Milian displays fine comedic timing and a honest delivery of dialogue, and is given many chances to show it all off, whether he is dealing with women, being tortured (is there a difference?), or, well, just running for his life! The rousing musical theme was nice too, a welcome change from the heavy, depressing one in Mannaja and the slower, more lyrical-based one in Django (not that they're bad songs either though). Finally, what was with the ending? Did they run out of money? I was really hoping for a resolution here and it felt like there should've been one but oh well...it was still a good movie.
Once upon a time in the cinematic west, more particularly during the sixties, you had to be Italian and your first name preferably had to be Sergio in order to make the greatest Spaghetti Westerns of all time. There was the greatest Sergio of them all (Sergio Leone, creator of the "Dollars"-trilogy and "Once upon a time in the West") but there was also Sergio Corbucci who made the awesomely terrific "Django" and "The Great Silence", and last but not least there was Sergio Sollima who was responsible for "The Big Gundown" and its mega-cool sequel "Run Man Run". Unfortunately I haven't seen the original yet it's hardly my fault Blue Underground opted to include only the sequel in the fabulous Spaghetti Western Collection DVD box but the follow up is a vastly entertaining, fast-paced, refreshing, exhilarating and effectively light-headed western adventures and promptly became one of my new personal favorites in the genre. Tomas Milian is stupendous as usual depicting the witty and hyperactive petty criminal Manuel "Cuchillo" Sanchez who is literally always on the run; whether for his demanding fiancée who insists on getting married or due to a series of unforeseen events from a whole lot of bounty hunters, organized criminal gangs and Mexican army officers. After helping a Mexican revolutionist to escape from jail, Cuchillo receives some valuable information regarding the whereabouts of a treasure of $3.000.000 in gold. This money is meant to finance the Mexican Revolution, but obviously several parties are more than interested in stealing it and they're all short on Cuchillo's tail as he's the only one who can lead them to the exact location. This top-class Italian western is near damn perfect from every viewpoint. The typical "Viva La Revolution" theme is always present, but never obtrusively shoved down your throat like often the case in other westerns (for example "Bullet for the General") and actually the emphasis strangely enough lies on comedy and abrupt plot twists instead of on harsh fights until death. Cuchillo spends most of his time on screen either running (duh!) or captured by one of his many opponents and subjected to ingenious methods of torture, but his narrow escapes are even greater to behold. Despite the comical atmosphere, "Run Man Man" nevertheless contains large portions of violence (Cuchillo is an expert knife thrower) and typically wild Western shootouts in desolate areas. The musical scores, courtesy of both Bruno Nicolai and Ennio Morricone, are beyond genius. The title track can be found on YouTube and I'm really addicted to it.
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