I lunghi giorni della vendetta (Faccia d'angelo)
- 1967
- 2h 3min
CALIFICACIÓN DE IMDb
6.2/10
510
TU CALIFICACIÓN
Agrega una trama en tu idiomaAfter three years of hard labor, Ted Barnett escapes from prison to seek revenge on the three men who framed him.After three years of hard labor, Ted Barnett escapes from prison to seek revenge on the three men who framed him.After three years of hard labor, Ted Barnett escapes from prison to seek revenge on the three men who framed him.
Conrado San Martín
- Cobb
- (as Conrado Sanmartin)
Manuel Muñiz
- Dr. Pajarito
- (as Pajarito)
Franco Cobianchi
- General Porfirio
- (as Franco Cobianchi d'Este)
Teodoro Corrà
- Morgan
- (as Doro Corra')
Giovanni Ivan Scratuglia
- Prison guard
- (as Ivan Scratuglia)
Pedro Basauri 'Pedrucho'
- Judge Kincaid
- (as Pedrucho)
Jose Halufi
- Losing Arm Wrestler
- (sin créditos)
Ricardo Moyán
- Cobb Henchman
- (sin créditos)
Carlos Otero
- Gómez
- (sin créditos)
Riccardo Pizzuti
- Cobb Henchman
- (sin créditos)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Argumento
¿Sabías que…?
- TriviaGiuliano Gemma is credited as Robert Wood on the Finnish theatrical poster
- ErroresDuring the bar fight, Ted Barnett shoots seven times without reloading.
- ConexionesReferenced in Kill Bill. La venganza (volumen 1) (2003)
Opinión destacada
Flawed but brilliant, underestimated spaghetti western...
Long Days of Vengeance is remarkably gripping for a movie whose story makes little sense - and carrying a 'comic' subplot that makes sense even less. Although it's the only western by the evidently accomplished and serious-minded director Florestano Vancini, he clearly understands the genre as it has developed in Italy by 1967. His job is to animate the often illogical action with a vibrant mise-en-scene, featuring often eye-popping visuals that facilitate the razor-sharp editing. It is visually exceptionally powerful, counterpointing its dynamic framing and movement with a brilliant Morricone-esque score by Armando Trovajoli. Vancini has a decisive visual approach; scenes and sequences are blocked and framed in a highly explicit way, announcing to the viewer just how this particular event will be explored, while maintaining tremendous flexibility in moving between different characters' point-of-view within scenes.
The writers (including the inventive Fernando di Leo) have already grasped the obligatory scenes of the Italian western: the prison escape; the barber shop stand-off; the extended barroom battle; pitting two gangs against each other; the hero suffering a debilitating, scarring beating; the interrupted hanging, and here each is staged as a standout set-piece. (The barber shop stand-off is especially effective as a suspense sequence, while using its excruciatingly extended timescale to unpack the hero's backstory.) Yet the story is constantly pushed forward, leaving the viewer little time to reflect on how unlikely the hero's actions usually are.
Giuliano Gemma is the Count of Monte Cristo here, out for revenge (two years after portraying Odysseus' return home in Tessari's magnificent Return of Ringo). Vancini lets Gemma's beauty speak for itself, and he observes the former stuntman's dangerous physical moves, swinging up buildings, between roofs and under trains, without nudging us. The topline cast acquit themselves very well, particularly Nieves Navarro and Francisco Rabal as a poisoned couple with a dark backstory. The patrician Navarro is especially powerful, constantly switching affiliation, yet seeming haunted by her own betrayals. Special mention also to Conrado San Martin as chief villain Cobb, playing a deranged lookalike of Sir Christopher Frayling, author of the definitive book 'Spaghetti Westerns'. (It's a remarkably prescient homage, considering that Long Days was released in 1967, and Frayling's book wasn't published until 1981.)
However the film's comedic/romantic sub-plot featuring Manuel Muniz and Gabriella Giorgelli is thin, contributing almost nothing to the story, and detracts from its dramatic development. It seems likely that this comic strand was seen as an essential feature of a Gemma movie, but it causes often jarring tonal shifts as it collides with the dark and violent central narrative. If it weren't for this unnecessary element, Long Days of Violence would have a much higher critical reputation. Yet even with this strand, it remains an outstanding example of the genre, deserving a much more prominent place in the canon.
The writers (including the inventive Fernando di Leo) have already grasped the obligatory scenes of the Italian western: the prison escape; the barber shop stand-off; the extended barroom battle; pitting two gangs against each other; the hero suffering a debilitating, scarring beating; the interrupted hanging, and here each is staged as a standout set-piece. (The barber shop stand-off is especially effective as a suspense sequence, while using its excruciatingly extended timescale to unpack the hero's backstory.) Yet the story is constantly pushed forward, leaving the viewer little time to reflect on how unlikely the hero's actions usually are.
Giuliano Gemma is the Count of Monte Cristo here, out for revenge (two years after portraying Odysseus' return home in Tessari's magnificent Return of Ringo). Vancini lets Gemma's beauty speak for itself, and he observes the former stuntman's dangerous physical moves, swinging up buildings, between roofs and under trains, without nudging us. The topline cast acquit themselves very well, particularly Nieves Navarro and Francisco Rabal as a poisoned couple with a dark backstory. The patrician Navarro is especially powerful, constantly switching affiliation, yet seeming haunted by her own betrayals. Special mention also to Conrado San Martin as chief villain Cobb, playing a deranged lookalike of Sir Christopher Frayling, author of the definitive book 'Spaghetti Westerns'. (It's a remarkably prescient homage, considering that Long Days was released in 1967, and Frayling's book wasn't published until 1981.)
However the film's comedic/romantic sub-plot featuring Manuel Muniz and Gabriella Giorgelli is thin, contributing almost nothing to the story, and detracts from its dramatic development. It seems likely that this comic strand was seen as an essential feature of a Gemma movie, but it causes often jarring tonal shifts as it collides with the dark and violent central narrative. If it weren't for this unnecessary element, Long Days of Violence would have a much higher critical reputation. Yet even with this strand, it remains an outstanding example of the genre, deserving a much more prominent place in the canon.
útil•00
- ChuckTurner
- 21 jun 2023
Selecciones populares
Inicia sesión para calificar y agregar a lista de videos para obtener recomendaciones personalizadas
- How long is Long Days of Vengeance?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- Países de origen
- Idioma
- También se conoce como
- Long Days of Vengeance
- Locaciones de filmación
- Desierto de Tabernas, Almería, Andalucía, España(opening scenes in the desert)
- Productoras
- Ver más créditos de la compañía en IMDbPro
- Tiempo de ejecución2 horas 3 minutos
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1
Contribuir a esta página
Sugiere una edición o agrega el contenido que falta
Principales brechas de datos
By what name was I lunghi giorni della vendetta (Faccia d'angelo) (1967) officially released in Canada in English?
Responda