(1968) Lang Jeffries, Fernando Sancho, Femi Benussi, Carlos Gaddi. A unique Euro-western with the hero as an astrologist who wears a leopard suit. Sure, theres a revenge theme, but overall ...
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After a stagecoach is robbed and the passengers murdered, a long and tangled series of surprise attacks a murderous double-crosses leaves the coach's strongbox in the hands of the killer ... See full summary »
A gang rescues a criminal from the gallows to attach them and rob a stagecoach full of gold. When they get the loot, betray him and leave him dying in the middle of the desert. The band ... See full summary »
(1968) Lang Jeffries, Fernando Sancho, Femi Benussi, Carlos Gaddi. A unique Euro-western with the hero as an astrologist who wears a leopard suit. Sure, theres a revenge theme, but overall this is a different brand of spaghetti. Its very moody and feels like a Euro-horror film in spots. Aka Requeim for a Gringo Color, 16mm Written by
a terrific example of the spaghetti western genre from Spain!
This movie is a lot of fun to watch. It's a riveting story with a touch of peculiarity, some great characters, and an amazing music score.
The film is a tale of justice and revenge, as a man returns home to his ranch after some sort of military service, and discovers that his brother has been killed by a gang of outlaws. The basic plot is typical spaghetti western fare, but what makes this movie stand out is its style.
The main character has kind of a mystical aura about him because of his uncanny ability to predict the weather, and use it to his advantage. He also has a knack for seeming to appear out of nowhere to surprise his targets. Lang Jeffries's acting in the film is a bit wooden for the role of such an interesting character, but the fantastic performances by Carlo Gaddi as the slimy, menacing outlaw Ted Corbin, and the always great Fernando Sancho as Porfirio, the gang leader who is losing his grip, make up for it.
There is a very odd implementation of zoom shots in the camera work during one particular scene as the film approaches its climax. Rather than the usual sustained, intensity-building close-ups that Sergio Leone was so fond of, the director here uses a rapidly zooming in and out camera for a more unsettling effect. This turns out to be one of the most memorable parts of the movie.
The music score is perhaps the best part of this film. The opening theme is one of my favorites, and is one of those unforgettable tunes that will play in your mind over and over long after the movie is done. The soundtrack contributes tremendously to the atmosphere of the film, especially the organ parts.
This one is a must-see for fans of the spaghetti-western genre.
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