In Africa, many years ago, Slim and Tom don't like it when a German tyrant, starts selling all of the African wildlife to Canadian Zoo's! Slim and Tom must teach this guy a lesson by ... See full summary »
After a tied 1st place in a local stunt race, two drivers start a contest to decide who of them will own the prize, a dune buggy. But when a mobster destroys the car, they are determined to get it back.
The "Trinity" crew makes another modern era film. Plata and Salud are pilots ditching aircraft for insurance money. They wind up crashing for real in the jungles of South America. The plot ... See full summary »
In 1978, $20 million was stolen from a Detroit bank. One of the robbers was caught, one was found dead, and the third disappeared. The money was never found. Seven years later, the robber ... See full summary »
Two missionaries (Bud Spencer and Terence Hill) come into conflict with the authorities when they turn their missionary into a parrot farm. The Bishop of Maracaibo calls them his 'black ... See full summary »
Jack Beauregard, once the greatest gunslinger of the Old West, only wants to move to Europe and retire in peace, but a young gunfighter, known only as "Nobody," idolizes him and wants to see him go out in a blaze of glory. He arranges for Jack to face the 150-man gang known as The Wild Bunch and earn his place in history. Written by
The title "My name is Nobody" was, I think, taken from a text in Homer's Odyssey which Odysseus said to Cyclops, the one-eyed giant. And, indeed, if one considers that fact one could better see what this film's message is: While old Jack Beauregard could, after a long voyage, at last go home to Europe, "Nobody" was destined to continue his odyssey far from home in countries that were never his cultural homeland.
Albeit the film itself is a parody of other westerns, of 'C'era una volta il West' and/or 'The wild bunch' for example, and therefore should be (and is in fact) comical and funny, one nevertheless hears a slightly melancholy song sung by/about Odysseus(= Nobody) who had forgotten his homeland. Owing to that (please let me dare say)'depth', 'Il mio nome e nessuno' succeeded in being far more than a simple parody and in appealing not only to 'genre fans' but also to 'general' movie lovers: Fonda's brilliant performance, Fonda and Terence Hill's unique combination, Morricone's perfect score. It's all really tasty.
I still remember that a Japanese film critic at that time has rated this film low, because 'it was a spaghetti western made by an assistant of Sergio Leone'. But when I myself saw the film later, I (please excuse me for being cheeky and cocky) doubted his eye of a film critic: Why hasn't he seen that this film clearly stood out from other Italian westerns? Why has he ignored the fact that Tonino Valerii could make excellent westerns without Leone and without Morricone? (I of course mean 'Il prezzo del potere' and 'I giorni dell'ira'.)
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