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Who wouldn't jump at the chance to get off a gallows and take a chance at living? The motivation is, of course, gold...lot's of it. James Coburn does a very good job of portraying a soldier seeking justice for his murdered wife, and goes after Telly Sevallis with a vengance, using condemmed men as his team. Much like the Dirty Dozen, but without the military structure of WWII. Liked this movie but the sound track is typically Italian...overmodulated and scratchy. When I first saw this film I thought I was watching a Sergio Leone spaghetti western...even the music sounded the same. In spite of the similes and plagarised plots from other films in this genre, this one still turned out well. Good photography and special effects. Hope someday someone will remaster the sound and turn out a smashing DVD. Enjoy!
It is the American Civil War as envisioned by Italians, set apart from the main theaters of conflict, out in the southwestern desert. James Coburn is Col. Pembroke who has lost impregnable Ft. Holman to the Rebs and who has a private scheme to retrieve it along with his honor. He sets out on a commando expedition with a sergeant and a dirty half-dozen volunteers, scalawags freed from the gallows and kept in line (barely) with a promise of hidden gold. Telly Savalas is the Southern commander dreading Pembroke's reappearance. Some exciting action and tense situations, but credibility is strained when, with the Ft. Holman Gatling gun spraying shot into the parade ground, the Confederate troops show no interest in cover but keep milling in the open like ants from a hill goaded with a stick. Not a great or inspiring movie but a solid performance from Coburn. And for all the death there's not much blood.
Disgraced Union officer James Coburn saves himself and a few
degenerates, including Bud Spencer, from hanging by suggesting a daring
raid on the impregnable Fort Holman, currently being held by mad rebel
General Telly Savalas. As the introductory crawl suggests, Coburn has
greater motivations than that of simple patriotism.
Inspired by The Dirty Dozen with a bit of Where Eagles Dare and The Wild Bunch thrown in, this is an entertaining Italian western/Civil War movie that makes good use of the massive sets previously built for the film El Condor.
Generally worth recommending, Massacre At Fort Holman (also widely known as A Reason To Live, A Reason To Die, with Coburn dubbed by someone else and Bud Spencer apparently by character actor R.G. Armstrong!) sags some in the middle but things pick up and the final battle is fairly exciting.
There's a great performance by the always cool James Coburn, while that of the supposedly insane Telly Savalas is actually more subdued than usual. He was much more zesty in Pancho Villa and A Town Called Hell, though this is still a better movie.
A group of conscripted convicts formed by seven condemned , already
destined for death row, are drafted to go on a near-suicide mission and
attempt to recapture a Missouri fort called Fort Holzman . They must
carry out the objective and reconquest the keep with the understanding
that if the Confederate don't murder them, the Union Army won't, either
. A two-fisted U.S. ex-officer and the ambitious drifters , join forces
to rob a lot of gold located into an impressive fortress where is
supposedly hidden a treasure , 500.000 dollars in gold bars taken from
a Confederate bank . In the hands of hardboiled director Tonino Valeri
and a tough-as-leather cast headed by the commander James Coburn , as a
troublesome U.S. Army official , that's all the plot that's needed to
make one rip-roaring Spaghetti Western flick. Coburn's mission is
two-fold and in ¨Dirty dozen ¨ style : first turn his prisoners into a
fighting unit and then turn them loose on a Southern fortress occupied
by Confederate soldiers commanded by cruel Major Telly Savallas . His
crime-minded characters include Bud Spencer as a chronic malcontent,
Benito Stefanelli as a ready-to-blow psycho, Hugo Fangareggi as a
lame-brained convict , and Reinhard Kolldehoff as Union sergeant, among
others . The first half of the film allows the colorful cast of
character actors to have their fun as they get their tails whipped into
shape and develop shaky relationship with their leader. The final part
is all action, as the culprit commandos wreck havoc and then run for
their lives. Despite the fact that few of the "heroes" survive the
bloodbath, the message here isn't that war is hell. Rather, it seems to
be: war can be a hell of a good time... if you've got nothing to lose .
Pretty good S.W. about a relentless and exciting dangerous mission set
against spectacular scenery of Almeria. The relentless assignment is
set against strong environment, risked mountains and hazardous trails .
The dangerous pursuit includes a numerous group formed by a motley cast
. It will be a long and dangerous pursuit with continuous risks . This
Western is superior than subsequent entries because it displays
stirring adventures, shootouts, riding pursuits and is pretty amusing.
It's an exciting SW with breathtaking final showdown between the protagonists and their enemies full of explosions , machine gun and deaths . James Coburn is very fine, he ravages the screen, he steals the show as Union colonel seeking revenge . Telly Savallas as a cruelly baddie role as confederate officer is terrific , subsequently the would play similar roles in other Spaghettis . Furthermore, appears usual secondaries of Italian/Spanish Western as Benito Stefanelli , Francisco Sanz , Jose Suarez and of course special mention to Bud Spencer in a serious role . The film blends violence, blood, tension, high body-count and though the first part is slow moving , however is quite entertaining. There is plenty of action in the movie , guaranteeing a shootout or stunt every few minutes. There are many fine technicians and nice assistant direction and excellent production design with a magnificent scenario plenty of barren outdoors, dirty landscapes under a glimmer sun and a fine set on the final scenes . The musician Riz Ortalani composes a nice Spaghetti soundtrack and well conducted ; it's full of enjoyable sounds and emotive score . The film is well shot in Texas Hollywood-Fort Bravo, Almeria, Spain with a breathtaking set design at the impressive fortress which was made by Julio Molina for ¨the Condor ¨ movie , one of the best ever created and where were posteriorly filmed several Spaghetti as ¨ Blind man ¨, ¨ A man called Noon¨ and ¨Conan the Barbarian¨. Nevertheless, today the fort has been partially crumbled and only remain some ruins .
Tonino Valeri's so-so direction is well crafted, here he's less cynical and humorous and more inclined toward violence and too much action especially on its ending part . Colorful and evocative cinematography by Alejandro Ulloa , reflecting marvelously the habitual Almeria outdoors . The picture is well directed by Tonio Valeri , an expert on Western as proved in ¨The hired gun ¨ , ¨My name is nobody ¨ with Fonda and Terence Hill , ¨The price of power ¨ with Giuliano Gemma and Van Heflin , ¨The day of anger ¨with Lee van Cleef and ¨ Taste of Killing¨ with Craig Hill and George Martin .
The spaghetti western sub-genre might have grown rancid by this period,
but there are no doubts their titles were striking and creative, when
which said simply rolled of your tongue. Tell me that this title isn't
a lyrical joy. No stranger to the sub-genre with "My Name is Nobody"
and "Day of Anger", director Tonino Valerii's 'A Reason to Live, A
Reason to Die!" would be a hardy old-fashion western variation of "The
Dirty Dozen". While it might be only half of that film, its remains an
amusing fare thanks largely to the three central performances of Bud
Spencer, James Coburn and Telly Savalas. The latter might not make an
appearance until the hour mark, but it's the combination between the
buoyant Spencer and low-key Coburn which drives it. The humour seems to
come off thanks to Spencer timing and presence. Even though the greying
Coburn and swaggering Savalas get top billing, it's Spencer who's
really the star.
Like most films of this ilk, it's systematic with its staples as the theme of vengeance and redemption looms prominently. There's no real change of route, as it keeps it gritty and the straight-forward narrative never loses focuses, especially that of the character's motivations with it to throw up a sudden revelation (which my DVD synopsis' spoiled). The expandable characters are clichés, but workable as they serve their purpose with it ending on a bang. It actually starts with the end, to only retell the story from Spencer's character's point of view. This gives it like a mythical tale-like quality. It's well shot with a commendable music score. Valerii does a serviceable job behind the camera letting it move at a fair pace while constructing few intense scenes and cracking action sequences, like the delirious climatic showdown at the hillside forte (with it vivid locations), which had me thinking of "The Wild Bunch" (in which case Coburn would star in Peckinpah's "Pat Garrett & Billy the Kid" the following year), but in the end you feel like there just wasn't enough going on. Some moments should have been much stronger than they were, like the personal battle between Coburn and Savalas.
Contrived, but tough and dirty entertainment.
"A Reason to Live, A Reason to Die" (1972) is a exciting, Civil War-set
Spaghetti Western, directed by Sergio Leone's protégé Tonino Valerii
and stars James Coburn, Telly Savalas and Bud Spencer.
The script by Rafael Azcona, Ernesto Gastaldi, Jay Lynn and Tonino Valerii is hardly original, amounting to nothing but a "Dirty Dozen" rehash, but it is adequate: during the American Civil War, the disgraced Colonel Pembroke (James Coburn) tries to retake a heavily defended fort that was taken by the Confederates from him without a shot fired, a mystery that helps drive his character, by using twelve recruits who he has saved from death sentences.
Despite the lack of originality in the screenplay department, the spirited direction makes the story rattle along at a breathless pace to the expertly staged, wholesale carnage at the end. Throughout, the the three leads fare remarkably well and are the only ones who are given any sort of more than superficial examination of their past. The music by Riz Ortolani, all powerful horns, is masterly, compensating for uninteresting photography.
The fast pace and direction help raise this Spaghetti Western into a higher plane, turning it into a very, very enjoyable film.
Another western taking place during the Civil War.
Colonel Penbroke (James Coburn) is trying to redeem himself after losing a fort to the rebs, and, like The Dirty Dozen, gathers condemned men to take a fort. He only has six or eight, not a dozen, but they manage to get to the fort anyway. Getting in is another matter.
This is where it changes from a western to a commando flick, a la WWII. The condemned all die thinking they would be rich off the gold supposedly buried in the fort, and Coburn gets his chance to once again face Maj. Ward (Telly Savalas).
Lots of dead Rebs and only Pembroke and Eli (Bud Spencer) survive, but his honor is restored.
Una ragione per vivere e una per morire (AKA: A Reason to Live, A
Reason to Die & Massacre at Fort Holman) is directed by Tonino Valerii,
who also co-writes with Rafael Azcona and Ernesto Gastaldi. It stars
James Coburn, Telly Savalas & Bud Spencer. Cinematographer is Alejandro
Ulloa and the music is scored by Riz Ortolani. Plot sees Coburn as
Union Colonel Pembroke, who during the Civil War is given a rag-tag
group of criminals to go win back the fort he lost to Confederate Major
Frank Ward (Savalas). For him it's a chance to regain his honour, for
them it's a chance to avoid execution for their crimes.
Joplin Gazette, Joplin Missouri, April 10, 1872
---Today I walked through the ruins of what was once Fort Holman. 10 years ago, this Civil War fortress, thought to be impregnable, was destroyed by a wild bunch of marauders. Eli Sampson, a survivor of that massacre, revealed in an interview that the raid was the result of a blood feud between two bitter men: Colonel Pembroke, a Union officer, thought to be a traitor and a coward, led the mission to recapture the fort he had once surrendered. Major Ward, a ruthless "Mad Genius," who joined the Confederacy solely to gain command of Fort Holman, so that he could rule the vast surrounding Santa Fe territory after the war. But what motivates these two men and what caused this incredible blood bath, was explained by Eli Sampson in the story that follows---
It's a written opening that grabs the attention straight away, it has all the promise of a spaghetti western done Peckinpah style. Then early in proceedings a grizzled James Coburn walks along a line of men about to be hanged, being introduced to them and calmly wondering if said scum-bags would like to stave off execution by accompanying him on a suicide mission? OK, it's derivative of The Dirty Dozen five years earlier, but if this is blending Peckinpah with Robert Aldrich at his best then it will be worth every second spent with it. Sadly it doesn't come close to living up to that particular promise. But it does have points of worth within.
If you are willing to invest some patience with the slow narrative and get to the carnage finale unscathed? Then it's actually worth the wait as regards action. There's also some fine photography from Ulloa around Almeria in Spain, while Ortolani's soundtrack score blends well in context to the story. However, away from Coburn the acting is sub-standard, especially from Savalas who is miscast, while some suspension of disbelief is needed once the group reach the fort. But all in all it's a safe recommend to fans of Westerns, spaghetti or otherwise. And certainly a must for Coburn fans. 6.5/10
Footnote: The full cut of the film now runs at just shy of two hours in length, film buyers should ensure that they buy home format discs that run at around the 113/114 minute mark.
*** This review may contain spoilers ***
The fine quality of this comic and then very dramatic Coburn & B.
Spencer western was a surprise for me.
This heterogeneous and satisfying western is an odd proof that Valerii was an underachiever and that he should of been one of the most respected western directors ever. The movie is, as I said, very heterogeneous; but it also shows a flawless gusto and an unfailing taste for what an action film must be, and has an admirably pure line, there is this purity of the narration that makes it especially likable.
In a few words, it is the Dirty Dozen set during another warin 1862, I think.
It has been noticed that there are some WW 2 action films that are essentially westerns. Well, here we got the symmetrical situation: the Coburn western is essentially a commando flick.
A commando of only eight men, all evildoers (Coburn and B. Spencer are the most familiar faces ) is sent to conquer a fort; the fort is ruled by Major Ward (i.e., Savallas). Savallas and his soldiers are Southerners.
In a too small role, Savallas makes yet another of his outstanding villains.
Coburn's character isn't a lowlife, but a Colonel that wants to conquer the fort that he surrendered to Major Ward.
Most of the film is made in a humorous key. B. Spencer is the protagonist of all sorts of bodily jokes, there are discussions about buttocks, urinating and umbilical region. If you allow me an impious thought, who could imagine Wayne, G. Cooper or Mitchum forcing unsuccessfully to urinate, simulating vainly that they urinate, and complaining about their asses being inflamed by horse-ride? I guess it somehow depends on your particular sensibilities, yet this comic is never displeasing or misplaced or disgusting. It is simply Gargantuan joking.
The very long fight scene is particularly pleasingonce the commando enters the fort, a long battle begins. The movie's end is somehow a twistfor me, it was a twistI expected a duel, etc.. Anyway, Savallas is very good. These three actorsCoburn, B. Spencer and Savallasgive the film a particular charm.
The fight scene is indeed an interesting one, though on another level than the rest of the movieit's like the film suddenly changesthe feel, the style change suddenly, and we get one of the finest fight scenes, like an ultracompact Dirty Dozen!
During this last part of the moviethe fightthe tone becomes intensely and convincingly , seriously dramatic. One could define the film in its entirety as a very funny, comical western, excellently played, and with a long very dramatic fight scene. Coburn meeting Savallas is really chilling and thrillingand Savallas indeed looks as if he was dying when Coburn pierces him with the sword. I dislike disclosing here the endyet Savallas' death was of course foreseeable and on the other hand and much more important Savallas' death scene is so important and finely done and interesting that it of course deserved to be explicitly mentioned here.
A Reason to Live, a Reason to Die is rather short. B. Spencer has most of the screen time. Everything seems to happen very quickly; Eli's (B. Spencer's) sabotage techniques allow for many funny things to be played. Eli and the Colonel are the only two good guys in the film; Eli is as intelligent as the Colonel, and sides with him on every occasion.
The humor is of course manly and also very unsubtle; the naturalness gives charm to the comic strips story, while B. Spencer's sometimes aggressive humor is amusing in his usual buffoonish way. This '72 western comes towards the end of B. Spencer's career in the westernsin '73 he'll launch his Piedone. He alternates placidity with aggressiveness ,having already found the formula of his action roles.
On the other hand, I have to say that, with all its merits and qualities, A Reason to Live remains a modest thrilling funny likable action western, and it's in no way the equal of a film like The Dirty Dozen (where everything was infinitely better, worked much better, etc., there was plenty of action and suspense, the characters had their individuality and the finest actors abounded!).
*** This review may contain spoilers ***
"A Reason to Live; A Reason to Die" is a American Civil War saga about
a cashiered Union colonel who commands twelve condemned men to carry
out a suicide mission. Initially, this do-or-die adventure epic opens
like a "Dirty Dozen" clone before it turns into quasi-"The Good, the
Bad, and the Ugly." Although Colonel Pembroke (James Coburn of "Duck,
You Sucker") wants to clear himself of being a traitor, he really wants
to appropriate a half-million dollars in gold from impregnable Fort
Holman. Pembroke's nemesis at Holman is none other than Telly Savalas!
Savalas' presence bolsters the allusion to "The Dirty Dozen." As the
commandant of Fort Holman, Savalas is not going to take the easy way
out. Tonino Valerii of "Day of Anger" helmed this standard-issue,
Spaghetti western. Rafael Azcona and Ernesto Gastaldi co-wrote the
screenplay about treacherous men with Valerii. Gastaldi had penned his
share of Spaghettis, including "My Name Is Nobody," "Man from Nowhere,"
"Arizona Colt Returns," and "10,000 Dollars for a Massacre."
Previously, Azcona and Gastaldi had co-written the Bud Spencer comedy
oater "I Can Be Done, Amigo." The splendid, sun-baked scenery of
Southern Spain; a seasoned cast headed up by Coburn and Savalas, and
Riz Ortolani's flavorful orchestral soundtrack are the chief assets of
"A Reason to Live; A Reason to Die." Actually, most of Ortolani's score
sounds like excerpts from his "Day of Anger" soundtrack. Valerii
creates some moments of suspense, particularly when they are stringing
a rope to themselves. Bud Spencer goes in undercover as a Confederate
soldier to help Pembroke and his men get into Fort Holman.
Interestingly, although neither the director nor the writers drew any parallels to history, "A Reason to Live; A Reason to Die" sounds something like the siege of Vicksburg. At Vicksburg, on the bluffs of the Mississippi River, Pennsylvania born John Pemberton commanded the city and forted themselves up against the Union Army and U.S. Grant. Eventually, Grant starved the Confederates out of Vickburg and Pemberton was branded as a traitor for surrendering the city. When the Union Army captured Vicksburg, they cut the Confederacy in half, severing the Eastern Theater from the Western Theater. The officers in "A Reason to Live; A Reason to Die" depicts Fort Holman as a stronghold for the Union. When Pembroke gave up the fort, he was branded as a traitor like Pemberton for losing Vicksbug. Of course, events have been changed throughout the film, but you can see the dregs of history percolate up to the surface. In this respect, "A Reason to Live; A Reason to Die" isn't strictly a western
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