| Photos (see all 9 | slideshow) |
| Terence Hill | ... | Joe Thanks | |
| Miou-Miou | ... | Lucy (as Miou Miou) | |
| Robert Charlebois | ... | Bill Locomotiva | |
| Patrick McGoohan | ... | Major Cabot | |
| Raimund Harmstorf | ... | Sergeant Milton | |
| Piero Vida | ... | Jacky Roll | |
| Rik Battaglia | ... | Captain | |
| Mario Valgoi | ... | Thomas Trader | |
| Mario Brega | ... | Coach driver | |
| Friedrich von Ledebur | ... | Don Felipe, the priest (as Frederick von Ledebur) | |
| Jean Martin | ... | Colonel Pembroke | |
| Klaus Kinski | ... | Doc Foster | |
| Clara Colosimo | ... | La ruffiana | |
| Ferdinando Cerulli | ... | Her husband | |
| Benito Stefanelli | ... | Mortimer | |
| Renato Baldini | ... | Sheriff in saloon | |
| Roy Bosier | ... | Jeremy | |
| Gérard Boucaron | ... | Village idiot | |
| Miriam Mahler | ... | Pembroke's Daughter | |
| Carla Cassola | |||
| Vittorio Fanfoni | |||
| Armando Bottin | |||
| Valerio Ruggeri | |||
| rest of cast listed alphabetically: | |||
| Karl Braun | ... | Poker Player (uncredited) | |
| Lina Franchi | ... | Mary Gomez (prostitute) (uncredited) | |
| Furio Meniconi | ... | (uncredited) | |
| Pietro Torrisi | ... | Mortimer Henchman (uncredited) | |
Directed by | |||
| Damiano Damiani | |||
| Sergio Leone | (uncredited) | ||
Writing credits(in alphabetical order) | ||
| Damiano Damiani | screenplay | |
| Ernesto Gastaldi | screenplay | |
| Ernesto Gastaldi | story | |
| Fulvio Morsella | screenplay | |
| Fulvio Morsella | story | |
Produced by | |||
| Claudio Mancini | .... | producer | |
| Fulvio Morsella | .... | producer | |
| Sergio Leone | .... | executive producer (uncredited) | |
Original Music by | |||
| Ennio Morricone | |||
Cinematography by | |||
| Giuseppe Ruzzolini | |||
Film Editing by | |||
| Nino Baragli | |||
Production Design by | |||
| Francesco Bronzi | |||
| Carlo Simi | |||
Set Decoration by | |||
| Massimo Tavazzi | |||
Costume Design by | |||
| Franco Carretti | |||
Makeup Department | |||
| Carboni | .... | wig maker | |
| Fausto De Lisio | .... | hair stylist: Terence Hill | |
| Grazia De Rossi | .... | hair stylist | |
| Maurizio Giustini | .... | makeup artist: Terence Hill | |
| Pierantonio Mecacci | .... | makeup artist | |
| Rocchetti | .... | wig maker | |
Production Management | |||
| Franco Coduti | .... | unit manager | |
| Claudio Cuomo | .... | unit manager | |
| Claudio Giugno | .... | production supervisor | |
| Diego Gómez Sempere | .... | production manager: Spain | |
| Vasco Mafera | .... | unit manager | |
| Claudio Mancini | .... | general manager | |
Second Unit Director or Assistant Director | |||
| Stefano Rolla | .... | first assistant director | |
| Stefano Vicario | .... | second assistant director | |
Art Department | |||
| Francesco Bronzi | .... | art director: Italy | |
| Gilberto Carbonaro | .... | set constructor | |
| Gianni Fiumi | .... | property master | |
| Carlo Simi | .... | art director: Spain | |
Sound Department | |||
| Fausto Ancillai | .... | sound mixer | |
| Roberto Arcangeli | .... | sound effects | |
| Gaetano Testa | .... | sound | |
Special Effects by | |||
| Giovanni Corridori | .... | special effects | |
Costume and Wardrobe Department | |||
| Orsola Liberati | .... | seamstress | |
Editorial Department | |||
| Rossana Maiuri | .... | assistant editor | |
| Marco Roselli | .... | assistant editor | |
| Olga Sarra | .... | assistant editor | |
Music Department | |||
| Mills | .... | composer: song "Glory, Glory, Glory" | |
| Ennio Morricone | .... | composer: song "Glory, Glory, Glory" | |
| Ennio Morricone | .... | conductor | |
Other crew | |||
| Maurizio Mancini | .... | production secretary | |
| Benito Stefanelli | .... | master of arms | |
| Giorgio Ubaldi | .... | director: acrobatic scenes | |
| Vittoria Vigorelli | .... | script supervisor | |
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| Mio nome è Nessuno, Il | ...continuavano a chiamarlo Trinità | Lo chiamavano Trinità | Ocean's Twelve | Ocean's Eleven |
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This popular latter-day Spaghetti Western proved a disappointment overall, considering the talents involved; to begin with, I've always been wary of semi-comic genre entries such as this which stars one of its major exponents, Terence Hill (in fact, I recall having misgivings about even his MY NAME IS NOBODY [1973]): incidentally, that film was produced by the foremost director of Spaghetti Westerns Sergio Leone who was also involved with this one in an uncredited capacity (as a matter of fact, the striking and violent opening sequence is attributed to him!).
Anyway, the film clearly owes a huge debt to Leone's THE GOOD, THE BAD AND THE UGLY (1966) several genre outings, actually, tried to cash-in on that classic by devising (often amusing) variants on its title though there are so many characters involved that it's hard to determine who the various epithets are referring to! The international cast, then, includes besides Italian Hill Irishman Patrick MacGoohan (though playing a U.S. Cavalry officer), French Miou-Miou and Robert Charlebois, and German Klaus Kinski (appearing in a bit early on as a gambler/gunslinger). Director Damiani had dabbled in the genre previously with one of the politically-oriented efforts, A BULLET FOR THE GENERAL (1967); the film under review, though, isn't nearly as stylish or engaging also, as with a number of examples of its kind, it's overstretched for no real purpose!
Another underwhelming element here is the score by "Euro-Cult" guru/genre stalwart Ennio Morricone while pleasant in itself and occasionally inventive, it's decidedly forgettable in the long run: it seems he'd been doing it for so long that inspiration had pretty much withered by this time! There's not even that much action throughout the film: it's merely a collection of incidents which sees opportunistic Hill, gruff and dim-witted Charlebois (who's not only unhappy to be constantly reminded of his Indian heritage but he gets to negotiate terms with them over land rights while posing as a U.S. Colonel!), charming Miou-Miou, and shrewd villain MacGoohan (who's wasted here: what was he thinking?!) teaming up and/or double-crossing each other for possession of the proverbial booty (the plot, thin and all-too-typical as can be surmised is still separated by a good deal of padding). To be fair, the film is mildly enjoyable as such (a reasonable assessment for an outing emanating so late in the game) but hardly unmissable as Spaghetti Westerns go