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The Rope and the Colt (1969)
"Une corde, un Colt..." (original title)

7.0
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Ratings: 7.0/10 from 745 users  
Reviews: 17 user | 1 critic

Manuel is a leather-clad killer, drawn into a tragic kidnap/murder plot by his former flame Maria Caine.

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Title: The Rope and the Colt (1969)

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Cast

Complete credited cast:
Michèle Mercier ...
Robert Hossein ...
Guido Lollobrigida ...
Thomas Caine (as Lee Burton)
Daniele Vargas ...
Will Rogers (as Daniel Vargas)
Serge Marquand ...
Larry Rogers
Pierre Hatet ...
Frank Rogers
Philippe Baronnet ...
Bud Rogers
Pierre Collet ...
Sheriff Ben
Ivano Staccioli ...
Vallee
Béatrice Altariba ...
Saloon Woman
Michel Lemoine ...
Eli Caine
Anne-Marie Balin ...
Rest of cast listed alphabetically:
Simón Arriaga ...
Employé de Rogers
José Canalejas ...
Un frère Valley
Álvaro de Luna ...
Adjoint du shérif
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Storyline

Manuel is a leather-clad killer, drawn into a tragic kidnap/murder plot by his former flame Maria Caine.

Plot Summary | Add Synopsis

Genres:

Western

Certificate:

See all certifications »
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Details

Country:

| |

Language:

| |

Release Date:

25 January 1969 (France)  »

Also Known As:

Cemetery Without Crosses  »

Filming Locations:


Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

On an interview included on the German DVD, Robert Hossein claims that Dario Argento was not involved in writing the screenplay. Dario Argento is listed in the credits on the Italian and German versions but not on the French version. See more »

Connections

Referenced in Cold Sweat (1970) See more »

Soundtracks

Concerto pour Guitare
Instrumental
See more »

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User Reviews

 
CEMETERY WITHOUT CROSSES (Robert Hossein, 1969) ***
20 August 2008 | by (Naxxar, Malta) – See all my reviews

The qualities inherent in this Spaghetti Western have more to do with its uniqueness rather than for any outstanding merit: the film, in fact, is a French-Italian co-production (albeit co-scripted by none other than Dario Argento!). Also unusual is the fact that the movie was helmed by its own leading man – incidentally, the two stars (Hossein and Michele Mercier) had just finished the 5-picture "Angelique" series, which is currently being re-proposed on Italian TV (I've recorded four of them so far but have yet to watch any). Of the remaining cast members, I was mainly familiar with Michel Lemoine (perhaps best-known for playing the Mephistophelean figure in Jess Franco's SUCCUBUS [1967] and who would himself graduate to direction with the likes of SEVEN WOMEN FOR Satan [1974]); though his character isn't given any distinguishing features, the actor's odd looks are enough to give an offbeat tone to the traditional Western garb and settings.

The plot – a running feud between two factions, with each of whom the laid-back and detached ex-gunfighter Hossein becomes involved – is quite typical and straightforward; actually, the hero had been Mercier's flame but the latter eventually married another man, who turned out to be no good…though she's determined that the perpetrators of his death be punished, which is why she now turns once more to Hossein (living a hermitic existence in a nearby ghost town!). In direct opposition to the "Angelique" films mentioned above – where the sensuality of Mercier, one of the loveliest starlets of her time, was given center-stage – here, she deliberately chose to be deglamorized (not only forced to bury her husband all by herself but being physically manhandled by the villains at the end). Anyway, Hossein joins the other side – ostensibly as a rustler – but subsequently kidnaps the patriarch's daughter for purposes of ransom; on the other hand, they retaliate by beating up the two brothers (Lemoine among them) of Mercier's husband. By the time it's all over, unsurprisingly, there are bodies lying everywhere – even the stars get it (with Hossein giving himself a particularly ironic demise)!

Much of what's admirable in the genre at its best is evident here as well: laconic dialogue, good action (ominously donning a glove before engaging in shoot-outs, Hossein's gunplay is so quick as to border on the invisible!), terrific score (by the director's father Andre'!) and an evocatively grubby look (the opening and closing moments, then, are given an added dimension by being presented in sepia); interestingly, Hossein dedicated the film to his friend (and undisputed master of the genre) Sergio Leone!


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