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Here We Go Again, Eh Providence? (1973)

Ci risiamo, vero Provvidenza? (original title)

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(screenplay) (as Castellano), (story) (as Castellano) | 3 more credits »
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Cast

Cast overview, first billed only:
...
Providence
Gregg Palmer ...
The Hurricane Kid
...
Countess Pamela de Ortega
Luciano Catenacci ...
Count de Ortega
Manuel Gallardo ...
Captain Barton
Yu Ming Lun ...
Chiao
Ángel Ortiz ...
Sergeant
Federico Boido ...
Blonde Shotgun (as Rick Boyd)
Claude Berthy
Dante Maggio ...
Judge
Ettore Geri ...
Trading Post Proprietor
Cesare Nizzica ...
Vito Escolone
Luigi Antonio Guerra ...
Vito's Messenger
Carla Mancini ...
Hospice Nun
Giancarlo Bastianoni ...
Casino Bouncer
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Storyline

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Details

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Release Date:

8 November 1973 (Italy)  »

Also Known As:

Here We Go Again, Eh Providence?  »

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(Eastmancolor)

Aspect Ratio:

2.35 : 1
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Connections

Follows Life Is Tough, Eh Providence? (1972) See more »

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User Reviews

 
HERE WE GO AGAIN, EH PROVIDENCE? (Alberto De Martino, 1973) **1/2
4 October 2008 | by (Naxxar, Malta) – See all my reviews

This has to be one of the oddest Spaghetti Westerns out there: it’s actually the second entry in Tomas Milian’s “Providence” series – which, coming fairly late in the game, took the by-then prevalent spoofy route; in fact, there’s even a scene in which our Chaplinesque hero, itself an eccentric novelty, visits an old folks’ home peopled by the protagonists of previous Westerns – and not just Spaghetti icons such as Django, Sartana and Trinity, but also Valdez the Half-Breed who now refers to himself as half-wit!

The titular figure (he’s not only a fast-draw but also has a penchant for corny proverbs a' la Charlie Chan) travels in a hybrid of coach and train driven by an Oriental who also cooks for him – the latter is a nod to the Martial Arts action flicks that came to prominence around this same time, a style which got woven into the Spaghetti Western milieu on a couple of occasions (incidentally, Milian himself would play an Easterner in THE WHITE, THE YELLOW AND THE BLACK [1975]). Gregg Palmer’s character is basically a stand-in for Bud Spencer – he and Milian, then, are involved in a very funny bar-room brawl which is the film’s undeniable comic highlight; though underused, “Euro-Cult” starlet Carole Andre' is a radiant presence throughout. At best, the film is an average effort in the subgenre – surprisingly tolerable (thanks largely to an infectious score by Ennio Morricone and Bruno Nicolai) but, ultimately, inconsequential.


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