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Bounty Hunter in Trinity (1972)

Un bounty killer a Trinità (original title)
The townsfolk of Trinity decide to hire a notorious bounty hunter to protect them from a fierce band of Mexican outlaws who are terrorizing the area. He discovers the true person behind the... See full summary »


(as Oskar Faradine), (uncredited)


(as Aristide Massaccesi),


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Cast overview:
Jeff Cameron ...
Bounty Killer
Enzo Pulcrano ...
Sancho (as Paul McCreen)
Attilio Dottesio ...
Carla Mancini ...
Annie - Saloon Girl
Antonio Cantafora ...
Calogero Caruana ...
Paco (as Ted Jones)
Amerigo Castrighella ...
Sancho henchman
Silvio Klein ...
Emanuele Seguino


The townsfolk of Trinity decide to hire a notorious bounty hunter to protect them from a fierce band of Mexican outlaws who are terrorizing the area. He discovers the true person behind the bandits is within the town. A bloody gunfight ends the control of the gang and returns control of the town to its people. Written by Anonymous

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Release Date:

23 December 1972 (Italy)  »

Also Known As:

Bounty Hunter in Trinity  »

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Aspect Ratio:

2.35 : 1
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Edited from Black Killer (1971) See more »

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User Reviews

13 July 2005 | by (New York, USA) – See all my reviews

A BOUNTY KILLER FOR TRINITY is a grim, dark, violent little movie which turned out better than it probably had to be. This is another one of those ultra low budget Italian Westerns filmed on the ramshackle sets & familiar gravel pit owned and made by genre star Gordon Mitchell with his own resources and bare hands that served as the backdrop for about three dozen similar efforts made between 1970 and 1973 or so, a story that is actually more inspiring than the interchangeable threadbare plots of the films themselves.

Building facades and interiors served as sets for multiple projects, which when filmed from one angle became a general store or bank, from another a frontier ranch or hideout for ruthless Pistoleros garbed in Levis jeans, department store boots, movie prop gunbelts & six shooters borrowed for a weekend from a sympathetic studio prop department. Directors like Joe D'amato, Miles Deem, Frank Kramer and Anthony Ascott used the sets and outdoor locations like a Holodeck, creating worlds & places out of nothing. Costs were kept at a minimum with friends or co-workers pitching in with production crew work or bit parts, with a "stock" cast of actors brought in to fill the speaking roles. This week someone would play the gunslinger, next week they would be the Padre or maybe a crooked sheriff.

A BOUNTY KILLER FOR TRINITY is actually one of the better efforts, with "Jeff Cameron" cast as a laconic, remorseless and highly efficient bounty killer hired by the scheming bigwigs of a tumbleweed nowhere to rid their budding community of some local Banditos who have the run of the place and are making their lives miserable -- see also Corbucci's NAVAJO JOE and TOM HORN with Steve McQueen for other examples of this premise. As with most Euro Westerns the lead anti-hero is armed with a clever killing contraption (ala Sabata's shotgun pistol) and this time it is a crossbow, with throwing knives, Derringer pistols, a sawed off shotgun, as well good old six shooters & Winchester repeaters also coming into play depending upon what would make a better shot. Here is an equal opportunity minded hired assassin.

The plot is appropriately disposable: Banditos go on rampage, town leaders have edgy discussion about how to rid them of the menace, Cameron trots through the gravel pit and into town just in time to witness some form of outrage or atrocity to warrant his disgust (usually involving an attempted sexual assault on the pretty name brand Senorita that fit within the casting budget), leading to a series of scenes where the Banditos line up for showdowns with the scruffy, amoral drifter. They mutter insults and he kills them, repeat and rinse until the entire gang has assumed room temperature.

Any sense of storytelling is junked in favor of mood, style and as much brutality as may be needed to keep the attention of a paying audience, and A BOUNTY KILLER FOR TRINITY does not disappoint, providing a hefty body count, some nicely choreographed showdown scenes (why someone doesn't just plug the hero in the back from a window is never addressed, but so what), a clever ability by Cameron to know exactly what the bad guys are going to do before even they drum up their plans, keep it under 85 minutes so it can go on a double bill with another one just like it and you've got yourself advanced Spaghetti Western viewing where even the music sounds deceptively just like every other example of the genre, which is kind of the point.

Jeff Cameron is very good in the lead, bringing a sense of quiet disappointment and weariness about having to kill another bunch of sadistic brutes, with an ending that is actually rather evocative of DIRTY HARRY -- He takes no pride in his actions (unlike a wisecracking Sartana or ultra-cool Clint Eastwood), carries a sheaf of wanted posters for reference to make sure he is killing the right people and what the going rate is for their heads, and mastered the ability to roll a cigarette using tobacco tucked into a vest pocket for his performance. The film still has the comic book mentality of a good Anthony Ascott Spaghetti, but the affair is tinged with an air of regret for the loss of life, which is a refreshing change of pace for a genre that usually has a gleeful, sadistic attitude about violence and death.

Seek this one out: for about $25,000 in back-then money they came up with a nice, grim, violent little movie that is worth sitting through more than once. Which is more than I can say about REVENGE OF THE SITH, whatever a Sith may happen to be.

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