5.7/10
2,638
24 user 7 critic

Boot Hill (1969)

La collina degli stivali (original title)
Victims of oppressive town boss Honey are offered help by an unusual alliance of gunmen and circus performers.

Director:

Giuseppe Colizzi

Writers:

Giuseppe Colizzi (subject and screenplay), Giuseppe Colizzi (screenplay)
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Cast

Cast overview, first billed only:
Terence Hill ... Cat Stevens
Bud Spencer ... Arch Hutch Bessy
Woody Strode ... Thomas (as Woody Stroode)
Eduardo Ciannelli ... Judge Boone (as Edward Ciannelli)
George Eastman ... Baby Doll (as Luca Montefiori)
Glauco Onorato Glauco Onorato ... Finch
Alberto Dell'Acqua Alberto Dell'Acqua ... Hans - Acrobat
Nazzareno Zamperla Nazzareno Zamperla ... Franz - Acrobat (as Neno Zamperla)
Victor Buono ... Honey Fisher
Lionel Stander ... Mamy
Leslie Bailey Leslie Bailey ... John
Maurizio Manetti Maurizio Manetti ... Joe
Dante Cleri Dante Cleri ... Fisher's Lawyer
Antonio De Martino Antonio De Martino ... Midget
Adriano Cornelli Adriano Cornelli ... Midget
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Storyline

Honey Fisher has become a powerful man in this small Western town that has grown up around gold-prospecting fields. Fisher and his gang have managed, through swindling, murder, and terror, to gain leases on the important gold-yielding land in the area. A state commissioner comes to town to review the leases, which are crucial to Fisher's power. Cat Stevens and Hutch Bessy join forces with circus performers and townsfolk led by Stevens' friend Finch to fight against Fisher and his henchmen. Written by Charles Delacroix

Plot Summary | Add Synopsis

Taglines:

Where Nobody Died of Natural Causes See more »

Genres:

Comedy | Western

Certificate:

PG | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Italy

Language:

Italian

Release Date:

20 December 1969 (Italy) See more »

Also Known As:

Boot Hill: Trinity Rides Again See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Technicolor) (as Technicolor®)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Woody Strode received $75,000 for 10 weeks work, a huge jump from the $1,000 a week he was paid for " The Professionals ' just two years earlier. See more »

Quotes

[first lines]
Mami: And now ladies and gentleman our most publicized attraction: The Flying Men.
See more »

Crazy Credits

Opening credits: Together once again Terence Hill Bud Spencer two likeable rogues in La Collina Degli Stivali. See more »

Alternate Versions

There are 2 versions of the English language dub. One has the incorrect onscreen title of 'Boots Hill', and has the end credits playing over a black background after fading out as Cat and Hutch ride away. The other has the onscreen title corrected and has the credits over a freeze frame of Cat and Hutch riding away on horseback. See more »

Connections

Featured in Western Outlaws: 50 Movie MegaPack (2016) See more »

Soundtracks

Sotto La Panca
Composed by Riz Ortolani and Giuseppe Colizzi (as G. Colizzi)
Cinevox Record
See more »

Frequently Asked Questions

See more »

User Reviews

Underrated Western with a circus theme
13 February 2004 | by FilmFlaneurSee all my reviews

Boot Hill is such a different film to the popular ‘Trinity' films amongst which it was lumped, presumably by the American distributors keen to attract the same appreciative audience, that it often disappoints those who are expecting more of the same. In fact it stands well as a serious Western in own right, perhaps not at the very front rank of the genre, but an above average Spaghetti outing, both in direction and casting.

Director Colizzi conceived the film as the third in the loose trilogy which features Hill as Cat Stevens (the other two films being Dio perdona... Io no!/ God Forgives – I Don't! (1968) and I Quattro dell'Ave Maria, / Revenge at El Paso (1968). In this movie Hill, Spencer, and Stander are all excellent with none of the jokey humour which made the official Trinity films so distinctive and, for this viewer anyway, a little forced. Strode is outstanding and makes one wish that Hollywood had made more of his talents as muscular leading man. Too often one associates him with his mute, opening appearance in Once Upon a Time in the West, or in Ford's stagey Sargeant Rutledge, and forgets how easily he can carry the action for more than one scene. His later encounter with Stevens, while Hill hides out (‘I don't like to thank a man too many times') is one of the best scenes in the film. Although race is not an issue in the film, the American trailer makes play in that ‘two colours' are fighting against one threat, and the austere pairing of Hill and Strode – noticeably seen in single shot at the climax of the film – is electrifying.

The biggest weakness of writer-director Colizzi's film lays in the middle section, when the chronology is rather truncated, although even here the growing rapport between Stevens and Thomas is effectively conveyed by way of compensation. One would have appreciated seeing more of the dissolution of the circus, the debilitating effects of the murder of the acrobat on the troupe.. Meanwhile,the late introduction of Hutch (the essential other half to the expected Trinity pairing) gives plenty of time for an on-screen bond to form and, once the new group re-encounter the show, a real sense of mission has been formed. Such difficulties are partly the problem of a script which attempts too readily to combine showbusiness and showdowns in equal measure. The fault lines in Boot Hill are perhaps best described by the music, which ranges from Bullitt-like suspense riffs, through to a sentimental ‘circus' tune to a third, decidedly ‘epic' theme for the friendship of Stevens and his black comrade.

Perhaps the most interesting aspect of Boot Hill is Colizzi's inventive use of cross cutting between circus and gunfight, editing between ring and revolver as it were. The most notable example of this occurs at the beginning, when Stevens is stalked outside of the performance tent. By interweaving the dangers of the high wire with more immediate dangers faced outside, Collizi achieves a timing and balance which, in a sense, is as impressive as those inside the big top. Life - at least as shown in Boot Hill – thereby becomes kind of dangerous act of its own, and Colizzi heightens this sense through his shaping of his visual materials. Some critics have compared the acts in Boot Hill to the kind of medieval pageant served up for warlords centuries ago – especially when the troupe perform in front of head villain Honey (a surprisingly underwritten part for Victor Buono); I prefer to see it as a heightening of the tension inheirent in Western action, a different play on the skilful rituals involved.

Interesting comparisons might be made between this film and others where circus play intrudes into otherwise conservative genres (Vampire Circus springs to mind as a similar example) creating an interesting hybrid. Cukor's Heller in Pink Tights – highly rated by French Critics, less well liked at home - would make an interesting double bill with Colizzi's production, which is in need of some reassessment.


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