7.5/10
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Companeros (1970)

Vamos a matar, compañeros (original title)
A Swedish arms dealer and a Mexican peon team up to rescue the intellectual leader of the Revolutionary cause, while taking part in numerous misadventures along the way.

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Writers:

(screenplay) (as Dino Maiuri), (screenplay) | 3 more credits »
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Cast

Cast overview, first billed only:
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Gen. Mongo (as Francisco Bódalo)
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Colonel (as Edoardo Fajardo)
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Zaira
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Tourneur (as Luigi Pernice)
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John's Henchman
Jesús Fernández ...
Xantista
Claudio Scarchilli
Lorenzo Robledo ...
Captain Jim
Giovanni Petti ...
Border Officer
...
Lieutenant
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Storyline

Arms dealer Yolaf Peterson aims to make a sale to guerilla Mongo, but the money is locked in a bank safe, the combination known only to Professor Xantos, a prisoner of the Americans. Yolaf agrees to free Xantos, accompanied by reluctant guerilla Basco, but a former business partner of Yolaf's- John 'The Wooden Hand', has other ideas. Written by Tom Seldon <elpuro@msn.com>

Plot Summary | Add Synopsis

Taglines:

Death was their trademark, money their code of honor, and they're destined to kill each other. See more »

Genres:

Action | Comedy | Western

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

| |

Language:

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Release Date:

April 1972 (USA)  »

Also Known As:

Companeros  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Tomas Milian improvised the song about Franco Nero's blue eyes for the scene in which he cuts the rope while Nero is standing on a barrel. See more »

Goofs

When El Vasco (Tomas Milian) tear open the blouse of Lola (Iris Berben) to reveal her breasts, the tan lines from a Bikini are clearly visible. See more »

Quotes

[Xantos and Peterson are walking up the mountain, away from John and his men. Meanwhile, down below, Vasco is tied to a rock with a basket with a rat inside it strapped to his middle, and is laughing and screaming hysterically]
Yolof Peterson: Keep moving, Professor. It's only that crazy Vasco in one of his laughing fits.
Prof. Xantos: All by himself?
Yolof Peterson: He gets them often.
[They keep moving a little]
Prof. Xantos: It doesn't sound normal. Perhaps we should go back and get him.
Yolof Peterson: Oh, no, Professor, there's no time. Let's get going.
El Vasco: [...]
See more »

Connections

Referenced in Cannibal Holocaust (1980) See more »

Soundtracks

Vamos A Matar Compañeros (Titoli)
Music composed by Ennio Morricone
Lyrics by Sergio Corbucci & Bruno Corbucci
Performed by Cantori Moderni Di Alessandroni
See more »

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User Reviews

 
Looks like you win the bet.
10 July 2007 | by See all my reviews

A whimsically breezy surface makes way for a bang-up, ball-breaking and noisy spaghetti western by the talented Sergio Corbucci (the man also behind "The Great Silence" and "The Mercenary"). Actually I might still put those two films ahead of this one. Hell, there was an explosion of excitement ringing from this this highly competent and vivid outing. The cheeky style dripping from the fascinating material was well placed and delivered. Even from the action, the grand state of it feels like something out of a comic strip and how can't you love the flat-out, bloodthirsty machine gun activity towards the finale. What a sensational climax it builds up to!

The trio of Franco Nero, Tomas Milian and Jack Palance were nothing but marvellous, and the chemistry between the former two was a blast. But Palance's sophisticatedly leering menace was the real draw-card. Fernando Rey makes for a solid turn too. Ennio Morricone plucks in with a gleefully passionate and killer music score, which is one of his best and the rugged location was captured by Alejandro Ulloa's free-flowing and expressive cinematography that had plenty of poignant scope and detail. Corbucci stews up some inventive directorial flushes amongst the grit, chaos and exuberance. The atmospheric setting hit's the spot and sets up many potboiler and comedic scenes. It can lull at times, and might feel somewhat overlong.

The hard-boiled story sticks to something rather stable and less than flashy, but can be thoughtful in its wide arrange of antics and tactics. It's gusty political sub-text (on the treatment of the poor and use of violence to get your point across) can get a bit wishy-washy and preachy, however it definitely makes up for it in other areas like the chewy script with its constant wit and surprises.

Over-the-top entertainment equals a totally baroque and enjoyable Corbucci spaghetti western.


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