| Brett Halsey | ... | Roy Colt | |
| Charles Southwood | ... | Winchester Jack | |
| Marilù Tolo | ... | Manila | |
| Teodoro Corrà | ... | The Reverend | |
| Guido Lollobrigida | ... | Winchester's lead henchman (as Lee Burton) | |
| Bruno Corazzari | ... | Reverend's lead henchman | |
| Mauro Bosco | ... | Bellatreccia, Winchester's henchman #2 | |
| Federico Boido | ... | Boida | |
| Piero Morgia | ... | Winchester henchman #3 | |
| Franco Pesce | ... | Old man in scarf | |
| Giorgio Gargiullo | ... | Samuel (the cripple) | |
| Maurizio Laureri | ... | Henchman | |
| Vincenzo Crocitti | ... | Deaf man | |
| Leo De Nobili | ... | Henchman | |
| Isa Miranda | ... | Mamma Lizzy | |
| rest of cast listed alphabetically: | |||
| Osiride Pevarello | ... | Reverend's Henchman (uncredited) | |
| Pietro Torrisi | ... | Reverend's Henchman (uncredited) | |
Directed by | |||
| Mario Bava | |||
Writing credits | ||
| Mario di Nardo | (story and screenplay) | |
Produced by | |||
| Luigi Alessi | .... | producer | |
Original Music by | |||
| Piero Umiliani | |||
Cinematography by | |||
| Antonio Rinaldi | |||
| Mario Bava | (uncredited) | ||
Film Editing by | |||
| Olga Pedrini | |||
Production Design by | |||
| Giulia Mafai | |||
Makeup Department | |||
| Sergio Gennari | .... | hair stylist | |
| Sandro Melaranci | .... | makeup artist | |
Production Management | |||
| Alfonso Cucci | .... | unit manager | |
| Arrigo Peri | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Lamberto Bava | .... | assistant director | |
Art Department | |||
| Oscar Capponi | .... | assistant production designer | |
Sound Department | |||
| Guido Felicioni | .... | sound mixer | |
| Carlo Spagnardi | .... | boom operator | |
Camera and Electrical Department | |||
| Gianlorenzo Battaglia | .... | assistant camera (as Lorenzo Battaglia) | |
| Armando Pietrangeli | .... | still photographer | |
| Emilio Varriano | .... | camera operator | |
Editorial Department | |||
| Marisa Agostini | .... | editing secretary | |
| Liliana Serra | .... | assistant editor | |
Other crew | |||
| Franco Tupini | .... | production secretary | |
| Bruno Ukmar | .... | master of arms | |
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| Hercules and the Treasure of the Incas | The Good, the Bad, the Weird | Run, Man, Run | The Goonies | My Name Is Nobody |
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| Full cast and crew | Company credits | External reviews |
| IMDb Western section | IMDb Italy section |
While this comic Spaghetti Western was nowhere near as bad as its low reputation amidst the director’s canon would seem to suggest, it can’t possibly hold a candle to Sergio Leone’s classic THE GOOD, THE BAD AND THE UGLY (1966) – and it would be puerile for anyone to attempt comparisons of this sort!
It’s the last of Bava’s three such genre efforts but, actually, the first I’ve watched; I used to think that he was constrained within the number of relatively low-brow peplums he made, but even those showed greater commitment – and vigor during the action sequences. Here we get plenty of brawling and shooting, to be sure, but the handling throughout is decidedly sloppy…as if Bava, rather than be inspired by these traditionally ‘big’ moments, wanted to get such genre requirements out of the way!
That said, despite utilizing a wide variety of locations in its plot about two rival outlaw gangs’ quest for gold, these don’t seem to have stimulated the director’s trademark compositional skills; even worse, the comedy element comes across as heavy-handed most of the time, resulting in a flat and drawn-out film (even if it runs for a mere 85 minutes)!
Brett Halsey (from Bava’s FOUR TIMES THAT NIGHT [1969]) and Charles Southwood don’t exactly generate fireworks in the title roles and, in fact, the best in the cast are Marilu' Tolo as Winchester’s spirited (and shrewd) Indian girl and Teodoro Corra' as The Reverend, the atypically buffoonish baddie – a Russian émigré who still can’t get over the cold of his native land. Isa Miranda (who would work again with Bava when he treaded more familiar ground in BAY OF BLOOD [1971]) appears as the brothel Madame in what is perhaps the most slapsticky and forced set-piece in the entire film.
Hardly memorable in itself, there are still a few mild highlights in this reasonably agreeable, innocuous yet patchy genre offering: the spastic gunman at the beginning, the obviously fake snake which menaces Winchester (reminiscent of the one in Fritz Lang’s THE Indian TOMB [1959]), the exploding villain, and the final shot with the heroes’ feet up in the air as they engage in yet another fisticuff. Piero Umiliani’s lively score certainly contributes to the film’s characteristically light touch.