IMDb > Cut-Throats Nine (1972)
Condenados a vivir
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Cut-Throats Nine (1972) More at IMDbPro »Condenados a vivir (original title)

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Cut-Throats Nine -- While a soldier and his young wife are transporting a group of brutal killers by wagon, they are attacked by thieves who believe the wagon contains a gold shipment.


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A nightmare on the loose See more »
A wagon load of convicts on their way to prison is being escorted through the mountains by a cavalry troop... See more » | Add synopsis »
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Most extreme, and sad, Spanish western See more (28 total) »


  (in credits order) (verified as complete)
Claudio Undari ... Sgt. Brown (as Robert Hundar)
Emma Cohen ... Sarah
Alberto Dalbés ... Tom
Antonio Iranzo ... Ray
Manuel Tejada ... Dean
Ricardo Díaz ... Joe
José Manuel Martín ... John
Carlos Romero Marchent ... Slim
Rafael Hernández ... Dick
Eduardo Calvo ... Taylor
Lorenzo Robledo
Emilio Rodríguez
Xan das Bolas ... Buddy (as Tomas Ares)
Francisco Nieto
Antonio Padilla
Simón Arriaga
Juan Antonio Elices
Mabel Karr ... Wife
rest of cast listed alphabetically:
William Kiehl ... John (voice: English version) (uncredited)
Frank Latimore ... Dean (voice: English version) (uncredited)
Edward Mannix ... Buddy / Tom (voice: English version) (uncredited)
Robert Sommer ... Brown (voice: English version) (uncredited)

Dan van Husen ... Lackey (uncredited)
Mel Welles ... Ray (voice: English version) (uncredited)

Directed by
Joaquín Luis Romero Marchent  (as Joaquin Romero Marchent)
Writing credits
Joaquín Romero Hernández (story) &
Santiago Moncada (story)

Joaquín Romero Hernández (screenplay) &
Santiago Moncada (screenplay)

Original Music by
Carmelo A. Bernaola  (as Carmelo Bernaola)
Cinematography by
Luis Cuadrado 
Film Editing by
Mercedes Alonso 
Set Decoration by
José Luis Galicia  (as Galicia)
Jaime Pérez Cubero  (as Cubero)
Costume Design by
León Revuelta 
Makeup Department
Romana González .... assistant makeup artist
Carlos Paradela .... makeup artist
Production Management
Serafín García Trueba .... production manager
Second Unit Director or Assistant Director
Mariano Canales .... assistant director
Art Department
José A. Hidalgo .... sets assistant
Juan de la Flor .... property master
Sound Department
Luis Castro .... foley artist
José María San Mateo .... sound mixer (as Jose Mª San Mateo)
Special Effects by
Pablo Pérez .... special effects
Camera and Electrical Department
Teo Escamilla .... camera operator
Salvador Gómez Calle .... assistant camera (as Salvador Gomez)
Laureano López .... still photographer
Julio Romera .... electrical equipment supplier
Editorial Department
Marisa Hernández .... second assistant editor (as Mª Luisa Hernández)
María Dolores Laguna .... assistant editor (as Mª Dolores Laguna)
Other crew
Rosa Biadiu .... script supervisor
Juan Mauricio Matías .... second production assistant (as Mauricio Matías)
Manuel Sánchez .... production assistant
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Condenados a vivir" - Spain (original title)
"Bronson's Revenge" - USA (video title)
"Cutthroats 9" - USA (video box title)
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90 min | Canada:83 min (VHS version)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

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4 out of 7 people found the following review useful.
Most extreme, and sad, Spanish western, 29 September 2006
Author: rmahaney4 from isla de la muerte

Conedandos a vivir (1972) was and is marketed purely as a violent exploitation film. Viewers approach it that way and either find it terribly vacant and crude or enjoy those aspects of the movie that are hyped up by hucksters. As the euro-western was widely marketed as violent and cynical, this advertising tactic that often blinds viewers to what is actually occurring on-screen. This is unfortunate as this movie is actually a well thought out and decently executed western that provides the nihilistic capstone to an interesting series of Spanish westerns made in the mid-to-late 1960s and early 1970s. Viewed in that tradition, as the terminal point in a genre narrative that began much earlier in films like Joaquin Marchent's own El Sabor de la venganza (1963), it is a moving and fascinating movie.

Contrary to the reputation of the "Mediterranean westerns" made in Italy and Spain in the 1960s and 70s, these movies are not simply absurd and extreme distortions of the original American genre somewhat like Red River (1948) or Rio Bravo (1959) projected into a hall of mirrors. Instead of warped conventions without significance, these movies contained their own views of society and morality. Many of the westerns written or directed by Spaniards have a very interesting perspective of the nature of violence that is central to plot and character. Violence is a contagion that consumes everything and everyone in it's vicinity. In movies like El Hombre que mató a Billy el Niño (1967), El Sabor de la venganza (1963), or Garringo (1969) victims are transformed into victimizers through the alchemy of good intentions in a corrupt society. There is always a character who has a close personal relationship with the victim-turned-victimizer who both opposes the political corruption and also it's products, including their friend or brother/son. Outlaws are portrayed in bestial terms, a pack dominated by the most brutal one. These movies always end with an ambiguous sacrifice to necessity.

With Condenados a vivir, this formula reaches it's fullest development. Isolated in the wilderness, there is nothing to stall the corrosive assault of brutality. Every member of the group is degraded and virtually every on-screen character is dead by the final credits. Sarah Brown (Emma Cohen) is the only character who opposes this effect in any way, though her response is ambiguous as it involves a hopeless and absolute nihilism. In this series of movies, the typical genre ending of a shoot-out in the street or synonymous act becomes endlessly complicated. The exorcism of violence by violence must, according to the logic of these narratives, only perpetuate the contagion – an inescapable circularity.

This movie has a sort of resurrection of the dead hero in the manner of the Italian brand of western, but here it occurs in the delusions of an insane fugitive. However, whereas in the Italian movies this return-from-the-grave is followed by a sort of liberation of a community, in this movie this is only a guilt-ridden and confused hallucination.

As in most of these Spanish movies, the technical execution lags far behind the narrative sophistication. The "gore-effects" will strike you as laughable if you are in the right mood. However, all-in-all, this movie is a successful and sincere b-movie, and as such I recommend it. With El Sabor de la venganza, this is Joaquin Marchent's best western.

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