Master gunslinger Sabata arrives in Hobsonville, a town completely owned by McIntock, a robber baron who is taxing the inhabitants for the cost of future improvements to the town. Or that's... See full summary »
Lee Van Cleef,
Several pillars of society have robbed an Army safe containing $100,000 so they can buy the land upon which the coming railroad will be built. But they haven't reckoned on the presence of ... See full summary »
Lee Van Cleef,
In New Mexico, a Confederate veteran returns home to find his fiancée married to a Union soldier, his Yankee neighbors rallied against him and his property sold by the local banker who then hires a gunman to kill him.
Chico one of the remaining members of The Magnificent Seven now lives in the town that they (The Seven) helped. One day someone comes and takes most of the men prisoner. His wife seeks out ... See full summary »
In Mexico, during the rule of the self-proclaimed Emperor of Mexico Maximillian (1864-1867), Mexican revolutionaries and Republican forces try to bring former Mexican President Benito Juárez back to power. The United States in neutral and is going through the pains of the American Civil War. Mexican guerrilla leader Señor Ocaño hires gunfighter Sabata to steal a wagon-load of gold from Emperor Maximillian's Austrian and French forces. When Sabata and his friends, Escudo and Ballantine, finally get their hands on a wagon, they discover it's full of sand rather than gold. They suspect that the gold was stolen by Austrian Colonel Skimmel. Therefore, Sabata and his partners set out to find the gold and give it to the Mexican revolutionaries. Written by
This was not originally a Sabata film. The original Italian title translates as "Indio Black, you know what? You're a big son of a...", Indio Black being the character played by Yul Brynner, but the title and Brynner's character name were changed for the American release to cash in on Sabata (1969), the original Sabata film. See more »
When Sabata invades Colonel Skimmel's quarters, he sees the reflection of a person hiding behind the door. The person in the reflection is not Hertz. See more »
[Sabata catches an Austrian agent in a snare]
Hang around, I'll be back.
I'll get you when I get down!
[Sabata shoots the rope in two with a small pistol. The agent falls head first onto an accordion, and the instrument produces a sour note]
[looks back impassively]
You played that *rotten!
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Writer / director Gianfranco Parolini's crisp follow up two years later was simply just another crack, but Lee Van Cleef wouldn't return. Instead we get Yul Brynner decked in black as our man the bounty hunter Sabata, who's quick with a gun. As much as I liked Van Cleef in the title role, a curt Brynner stuck with me more. As it's hard to take your eyes off the man. While the cold edge was there, the humane side still showed without really letting you in. This made his shady character a lot more mysterious. Although Van Cleef would return to the Sabata role in Parolini's next sequel "Return of Sabata".
Hired gunslinger Sabata takes on a job to steal a wagon of gold from the Austrian army to help the fighting Mexican revolutionaries, but the job doesn't entirely go to plan. The narrative had some recurring themes that feel like they have been lifted right out of the original source. Despite the familiar staples, the pessimistic plot is never too straight-forward with its scheming, humour and there's a new gimmick or two (anyone up for stone marbles). The surprises are foreseeable, but its operatic style consists of flair and danger in a much more expansive manner. The shoot-outs (involving Mexicans and gun-runners) are mechanically staged, but there are some jarringly artistic shots, local flavour from the locations and sharp camera-work along with the bombastic music score. The way the camera presented some scenes, if would have you believing that maybe this was shot in 3D. That would have been interesting if so. The performances are spot on and fruitful in characterisations, as Parolini reuses some the actors from the original in different roles. Dean Reed works off Brynner quite well, which reminded me of the pairing of Van Cleef and Berger in Sabata. Too bad I found the latter to be better implemented though. Ignazio Spalla gives an animated turn as one of the Mexican revolutionaries and Gerard Herter is imposing as the gleefully sadistic Austrian Colonel Skimmel.
Conventional, but capable Italian western.
"I play solo".
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