A Reason to Live, a Reason to Die (1972) User Reviews

A misfit group led by James Coburn in search of millions of dollars in gold buried under an impregnable fortress commanded by Telly Savalas

[ma-cortes · 6/10 · 28 June 2010]

A group of conscripted convicts formed by seven condemned , already destined for death row , are drafted to go on a near-suicide mission and attempt to recapture a Missouri fort called Fort Holzman . They must carry out the objective and reconquest the keep with the understanding that if the Confederate don't murder them , the Union Army won't, either . A two-fisted U.S. ex-officer and the ambitious drifters , join forces to rob a lot of gold located into an impressive fortress where is supposedly hidden a treasure , 500.000 dollars in gold bars taken from a Confederate bank . In the hands of hardboiled director Tonino Valeri and a tough-as-leather cast headed by the commander James Coburn , as a troublesome U.S. Army official , that's all the plot that's needed to make one rip-roaring Spaghetti Western flick . Coburn's mission is two-fold and in ¨Dirty dozen ¨ style : first turn his prisoners into a fighting unit and then turn them loose on a Southern fortress occupied by Confederate soldiers commanded by the ruthless Major Telly Savalas . His crime-minded characters include Bud Spencer as the chronic malcontent , Benito Stefanelli as a ready-to-blow psycho , Hugo Fangareggi as a lame-brained convict , and Reinhard Kolldehoff as an Union sergeant , among others . The first half of the film allows the colorful cast of character actors to have their fun as they get their tails whipped into shape and develop shaky relationship with their leader . The final part is all action, as the assailants wreak havoc and then run for their lives . Despite the fact that few of the "heroes" survive the bloodbath , the message here isn't that war is hell . Rather, it seems to be : war can be a hell of a good time... if you've got nothing to lose . Pretty good S.W. about a relentless and moving dangerous mission set against spectacular scenery of Almeria . The hard assignment is set against strong environment, risked mountains and hazardous trails . The perilous feats include a numerous group formed by a motley and misfit cast . It will be a long and dangerous mission with continuous risks . This Western is superior than subsequent entries because displaying stirring adventures , shootouts, riding pursuits and being pretty entertaining.

It's an exciting S.W. with overwhelming final showdown between the protagonists and their enemies full of explosions , machine gun and deaths . James Coburn is very fine , he ravages the screen, he steals the show as Union colonel seeking revenge . Telly Savalas as a cruelly baddie role as a confederate officer is terrific , subsequently the would play similar roles in other Spaghettis . Furthermore , appears usual secondaries of Italian/Spanish Western as Benito Stefanelli , Francisco Sanz , José Suarez and , of course , special mention to Bud Spencer in an unusual serious role . The film blends violence, blood, tension, high body-count and though the first part is slow moving , however , having quite fun . There is plenty of action in the movie , guaranteeing a shootouts or stunts every few minutes. There are many fine technicians and nice assistant direction and excellent production design with a magnificent scenarios with plenty of barren outdoors , sandy landscapes under a glimmer sun and a fine set on the final scenes . The musician Riz Ortalani composes a nice Spaghetti soundtrack and well conducted ; it's full of enjoyable sounds and emotive score . The film is well shot in Texas Hollywood-Fort Bravo, Almeria, Spain with a breathtaking set design at the impressive fortress which was made by Julio Molina for ¨the Condor ¨ movie , one of the best ever created and where were posteriorly filmed several Spaghetti as ¨Blind man¨, ¨A man called Noon¨ and ¨Conan the Barbarian¨. Nevertheless, today the fort has been partially crumbled and only remain some ruins .

Tonino Valeri's acceptable direction is well crafted, here he's less cynical and humorous and more inclined toward violence and too much action especially on its ending part . Colorful and evocative cinematography by Alejandro Ulloa , reflecting marvelously the habitual Almeria outdoors . The picture was well directed by Tonino Valeri , an expert on Western as proved in ¨The hired gun ¨ , ¨My name is nobody ¨ with Henry Fonda and Terence Hill , ¨The price of power ¨ with Giuliano Gemma and Van Heflin , ¨The day of anger ¨with Lee van Cleef and ¨ Taste of Killing¨ with Craig Hill and George Martin .

"I killed, the first time in my life".

[lost-in-limbo · 6/10 · 16 June 2013]

The spaghetti western sub-genre might have grown rancid by this period, but there are no doubts their titles were striking and creative, when which said simply rolled of your tongue. Tell me that this title isn't a lyrical joy. No stranger to the sub-genre with "My Name is Nobody" and "Day of Anger", director Tonino Valerii's 'A Reason to Live, A Reason to Die!" would be a hardy old-fashion western variation of "The Dirty Dozen". While it might be only half of that film, its remains an amusing fare thanks largely to the three central performances of Bud Spencer, James Coburn and Telly Savalas. The latter might not make an appearance until the hour mark, but it's the combination between the buoyant Spencer and low-key Coburn which drives it. The humour seems to come off thanks to Spencer timing and presence. Even though the greying Coburn and swaggering Savalas get top billing, it's Spencer who's really the star.

Like most films of this ilk, it's systematic with its staples as the theme of vengeance and redemption looms prominently. There's no real change of route, as it keeps it gritty and the straight-forward narrative never loses focuses, especially that of the character's motivations with it to throw up a sudden revelation (which my DVD synopsis' spoiled). The expandable characters are clichés, but workable as they serve their purpose with it ending on a bang. It actually starts with the end, to only retell the story from Spencer's character's point of view. This gives it like a mythical tale-like quality. It's well shot with a commendable music score. Valerii does a serviceable job behind the camera letting it move at a fair pace while constructing few intense scenes and cracking action sequences, like the delirious climatic showdown at the hillside forte (with it vivid locations), which had me thinking of "The Wild Bunch" (in which case Coburn would star in Peckinpah's "Pat Garrett & Billy the Kid" the following year), but in the end you feel like there just wasn't enough going on. Some moments should have been much stronger than they were, like the personal battle between Coburn and Savalas.

Contrived, but tough and dirty entertainment.

The Dirty Seven.

[hitchcockthelegend · 6/10 · 24 February 2011]

Una ragione per vivere e una per morire (AKA: A Reason to Live, A Reason to Die & Massacre at Fort Holman) is directed by Tonino Valerii, who also co-writes with Rafael Azcona and Ernesto Gastaldi. It stars James Coburn, Telly Savalas & Bud Spencer. Cinematographer is Alejandro Ulloa and the music is scored by Riz Ortolani. Plot sees Coburn as Union Colonel Pembroke, who during the Civil War is given a rag-tag group of criminals to go win back the fort he lost to Confederate Major Frank Ward (Savalas). For him it's a chance to regain his honour, for them it's a chance to avoid execution for their crimes.

Joplin Gazette, Joplin Missouri, April 10, 1872

---Today I walked through the ruins of what was once Fort Holman. 10 years ago, this Civil War fortress, thought to be impregnable, was destroyed by a wild bunch of marauders. Eli Sampson, a survivor of that massacre, revealed in an interview that the raid was the result of a blood feud between two bitter men: Colonel Pembroke, a Union officer, thought to be a traitor and a coward, led the mission to recapture the fort he had once surrendered. Major Ward, a ruthless "Mad Genius," who joined the Confederacy solely to gain command of Fort Holman, so that he could rule the vast surrounding Santa Fe territory after the war. But what motivates these two men and what caused this incredible blood bath, was explained by Eli Sampson in the story that follows---

It's a written opening that grabs the attention straight away, it has all the promise of a spaghetti western done Peckinpah style. Then early in proceedings a grizzled James Coburn walks along a line of men about to be hanged, being introduced to them and calmly wondering if said scum-bags would like to stave off execution by accompanying him on a suicide mission? OK, it's derivative of The Dirty Dozen five years earlier, but if this is blending Peckinpah with Robert Aldrich at his best then it will be worth every second spent with it. Sadly it doesn't come close to living up to that particular promise. But it does have points of worth within.

If you are willing to invest some patience with the slow narrative and get to the carnage finale unscathed? Then it's actually worth the wait as regards action. There's also some fine photography from Ulloa around Almeria in Spain, while Ortolani's soundtrack score blends well in context to the story. However, away from Coburn the acting is sub-standard, especially from Savalas who is miscast, while some suspension of disbelief is needed once the group reach the fort. But all in all it's a safe recommend to fans of Westerns, spaghetti or otherwise. And certainly a must for Coburn fans. 6.5/10

Footnote: The full cut of the film now runs at just shy of two hours in length, film buyers should ensure that they buy home format discs that run at around the 113/114 minute mark.

James Coburn at his best! Premise of story is good.

[printerbob · 6/10 · 15 April 2004]

Who wouldn't jump at the chance to get off a gallows and take a chance at living? The motivation is, of course, gold...lot's of it. James Coburn does a very good job of portraying a soldier seeking justice for his murdered wife, and goes after Telly Sevallis with a vengance, using condemmed men as his team. Much like the Dirty Dozen, but without the military structure of WWII. Liked this movie but the sound track is typically Italian...overmodulated and scratchy. When I first saw this film I thought I was watching a Sergio Leone spaghetti western...even the music sounded the same. In spite of the similes and plagarised plots from other films in this genre, this one still turned out well. Good photography and special effects. Hope someday someone will remaster the sound and turn out a smashing DVD. Enjoy!

You wouldn't get on you knees for gold. You have some other motive.

[lastliberal · 6/10 · 31 July 2010]

Another western taking place during the Civil War.

Colonel Penbroke (James Coburn) is trying to redeem himself after losing a fort to the rebs, and, like The Dirty Dozen, gathers condemned men to take a fort. He only has six or eight, not a dozen, but they manage to get to the fort anyway. Getting in is another matter.

This is where it changes from a western to a commando flick, a la WWII. The condemned all die thinking they would be rich off the gold supposedly buried in the fort, and Coburn gets his chance to once again face Maj. Ward (Telly Savalas).

Lots of dead Rebs and only Pembroke and Eli (Bud Spencer) survive, but his honor is restored.

Little-known but rewarding

[Leofwine_draca · 7/10 · 24 April 2011]

The plot of Tonino Valerii's men-on-a-mission spagwest bears heavy resemblance to THE DIRTY DOZEN while certain sequences are undoubtedly inspired by the climax of Peckinpah's WILD BUNCH. Despite the familiarity of this subject matter, the film turns out to be an engaging little western that tells its story in a spare, lean narrative. It has a gritty, downbeat flavour, is very well shot and makes fine use of some grand sets and isolated locations. Valerii displays a real affinity with the subject matter and brings Ernesto Gastaldi's script to life in a memorable way.

Most of the characters are sidelined in favour of the big hitters, but small wonder when this film features James Coburn and Telly Savalas as protagonist and antagonist respectively. Coburn is stoic, sardonic and a fitting hero, while Savalas plays it subdued throughout. There's also a major role for spagwest stalwart Bud Spencer. Throw in some wonderfully filmed explosions (that put anything Michael Bay's done since to shame) and an epic-feel climax and you have a film that's never less than entertaining.

Greed, death and vengeance when war goes private

[lspeth · 4/10 · 25 April 2001]

It is the American Civil War as envisioned by Italians, set apart from the main theaters of conflict, out in the southwestern desert. James Coburn is Col. Pembroke who has lost impregnable Ft. Holman to the Rebs and who has a private scheme to retrieve it along with his honor. He sets out on a commando expedition with a sergeant and a dirty half-dozen volunteers, scalawags freed from the gallows and kept in line (barely) with a promise of hidden gold. Telly Savalas is the Southern commander dreading Pembroke's reappearance. Some exciting action and tense situations, but credibility is strained when, with the Ft. Holman Gatling gun spraying shot into the parade ground, the Confederate troops show no interest in cover but keep milling in the open like ants from a hill goaded with a stick. Not a great or inspiring movie but a solid performance from Coburn. And for all the death there's not much blood.

If only there was a reason to watch

[Coventry · 3/10 · 1 August 2017]

This film stood on my must-see list for one reason, namely the three major names in the cast and particularly because I'm an enormous fan of Telly Savalas' naturally malignant charisma. I should have guessed, however, that Savalas' part here is not much more than an small supportive role during the last half hour and that everything else isn't worth sitting through, neither. "A Reason to Live, A Reason to Die" is a poor, dull and forgettable hybrid between Spaghetti Western and (Civil) War movie that steals ideas and stylistic aspects from numerous classics but doesn't contribute the slightest thing itself. Director Tonino Valerii carefully watched all the blockbuster hits that got released during previous years (like "The Dirty Dozen", "The Wild Bunch", "The Great Escape", "The Magnificent Seven"…) and mishmashes a familiar story of a group convicted criminals that are offered the choice between the noose or fighting along in a battle to re-conquer a lost fortress. Colonel Pembroke gave up the fortress all too easily and, in order to avoid total loss of dignity, he embarks on a crazy mission to reclaim it with an 8-headed posse of outcasts that he promised a gold treasure that isn't there. James Coburn, who looks like he's been sleeping under a bridge for two years, depicts the anti- hero Colonel, Bud Spencer – in a largely non-comical role – is one of his henchmen and the great Telly Savalas is the evil Confederate Major they have to chase out of the fortress. "A Reason to Live, A Reason to Die" is incredibly long and tedious, especially because it's mainly derivative plodding during the first hour and a half. The trek towards the fortress is full of clichéd obstacles and macho arguments, while the final battle is dire and unspectacular. Being an Italian western from the early seventies, there's an unforgivable shortness of violent action, filthy bastard characters and general nastiness.

The Dirty Bunch

[FightingWesterner · 8/10 · 27 November 2009]

Disgraced Union officer James Coburn saves himself and a few degenerates, including Bud Spencer, from hanging by suggesting a daring raid on the impregnable Fort Holman, currently being held by mad rebel General Telly Savalas. As the introductory crawl suggests, Coburn has greater motivations than that of simple patriotism.

Inspired by The Dirty Dozen with a bit of Where Eagles Dare and The Wild Bunch thrown in, this is an entertaining Italian western/Civil War movie that makes good use of the massive sets previously built for the film El Condor.

Generally worth recommending, Massacre At Fort Holman (also widely known as A Reason To Live, A Reason To Die, with Coburn dubbed by someone else and Bud Spencer apparently by character actor R.G. Armstrong!) sags some in the middle but things pick up and the final battle is fairly exciting.

There's a great performance by the always cool James Coburn, while that of the supposedly insane Telly Savalas is actually more subdued than usual. He was much more zesty in Pancho Villa and A Town Called Hell, though this is still a better movie.

No new surprises other than the approach

[jordondave-28085 · 4/10 · 15 June 2023]

(1974) Massacre at Fort Holman/ Una ragione per vivere e una per morire SPAGHETTI WESTERN

Only saw this as it's U. K. title "Massacre at Fort Holmanand" and not as it's American title "A Reason to Live, a Reason to Die!", one of many titles depending on where you live! Co-written and directed by Tonino Valerii which upon watching this, part of the movie's idea may have derived from the likes of "Dirty Dozen" and The Wild Bunch" and perhaps "The Magnificent Seven" movies which centers on the James Coburn character recruiting 7 to 8 men sentenced for a hanging to give them a choice to help him recoup his fort back from the Southern Confederacy lead by Telly Savalas. Motivating them to stick with him for hidden gold located somewhere along the fort. Unmemorable dialogue with consistency problems and overall uninvolving since they're aren't any twists or surprises.

Dirty Dozen with Bud Spencer

[BandSAboutMovies · 5/10 · 18 June 2022]

A Reason to Live, a Reason to Die is also known as Massacre at Fort Holman. At the time that it was made, Italian westerns had begun to copy themselves, as this was shot on the same set as The Deserter, in the same Almería, Spain locations as Leone's films - you can see the homestead from Once Upon a Time In the West and the fort in this film was also used in El Condor - and even takes songs directly from Day of Anger.

It goes even further into Xerox territory by doing what several other Italian westerns had done: take an existing property and make it a cowboy film. This time, that movie is The Dirty Dozen.

Is it any wonder this was released by K-Tel?

What it has over most of its competitors is star power with James Coburn, Telly Savalas and Bud Spencer in the cast.

Disgraced Union Colonel Pembroke (Coburn) - reduced to looting a church - is arrested and tries to commute his sentence by saying that he has a plan to recapture Fort Holman, which he had previously surrendered to Major Ward (Savalas) and the Confederate army without firing a shot. He assembles the army which will help him take it back out of prisoners, including a deserter named McIver (Guy Mairesse, a murderer - of his commanding officer - and rapist - of his commanding officer's wife - named Pickett (Benito Stefanelli), Fred the horse thief Fred (Ugo Fangareggi), medicine thief and black marketeer Will (Adolfo Lastretti), half Native American - and killer of his fellow soldiers for selling alcohol to the Apache - Jeremy (Joe Pollini, who was also the assistant director), Sergeant Brent (Reinhard Kolldehoff) - who somehow is wearing the cross of Pembroke's dead wife - and a looter named Eli Sampson (Spencer). Only one of the group refuses, a religious pacifist agitator, who doesn't want this strange opportunity for freedom and would rather the certainty of the gallows.

Pembroke tells them that there's gold inside and that he's a convict just like them. The truth is that he only gave up the fort because Ward had taken his son and promised he'd be returned if he complied. He did and his son was killed.

By the end, everyone - save Pembroke and Sampson - is dead. War is bloody and ruthless and unforgiving, but so is revenge. Blake lies dead, killed with his own sword. Probably the same sword that killed Pembroke's son. But even if he has vengeance, he'll never have his boy back.

Director Tonino Valerii also made Day of Anger, My Dear Killer, My Name Is Nobody and the JFK assassination in the west film Price of Power. He's pretty good, even if his name doesn't come up much in the conversation on Italian directors. This was written by Rafael Azcona and Ernesto Gastadi, whose list of credits could fill our entire site.

Not awful, but lacks enough spark

[Wizard-8 · 5/10 · 1 January 2018]

On paper, this spaghetti western must have looked like it would work magnificently. It had a budget, three big stars heading the cast (James Coburn, Telly Savalas, and Italian star Bud Spencer), music by the legendary Riz Ortolani, and the still fresh DIRTY DOZEN plot premise. However, the end results are somewhat lacking. I think the reason why the movie doesn't work is a combination of its script and the direction by Tonino Valerii. Despite its premise suggestion there will be a lot of action, there actually is almost no action until the movie's climax. And the action that does happen in the climax seems somewhat humdrum and routine. It doesn't help that the part of the movie leading up to the climax is more often than not very low key. I would only recommend this spaghetti western to die hard fans of the genre.

A "Dirty Dozen" Spaghetti Western

[zardoz-13 · 8/10 · 25 March 2014]

"A Reason to Live; A Reason to Die" is a American Civil War saga about a cashiered Union colonel who commands twelve condemned men to carry out a suicide mission. Initially, this do-or-die adventure epic opens like a "Dirty Dozen" clone before it turns into quasi-"The Good, the Bad, and the Ugly." Although Colonel Pembroke (James Coburn of "Duck, You Sucker") wants to clear himself of being a traitor, he really wants to appropriate a half-million dollars in gold from impregnable Fort Holman. Pembroke's nemesis at Holman is none other than Telly Savalas! Savalas' presence bolsters the allusion to "The Dirty Dozen." As the commandant of Fort Holman, Savalas refuses to take the easy way out. Tonino Valerii of "Day of Anger" helmed this standard-issue, Spaghetti western as if it were J. Lee Thompson's "The Guns of Navarone. Rafael Azcona and Ernesto Gastaldi co-wrote the screenplay about treacherous men with Valerii. Gastaldi had penned his share of Spaghettis, including "My Name Is Nobody," "Man from Nowhere," "Arizona Colt Returns," and "10,000 Dollars for a Massacre." Previously, Azcona and Gastaldi had co-written the Bud Spencer comedy oater "I Can Be Done, Amigo." The splendid, sun-baked scenery of Southern Spain; a seasoned cast headed up by Coburn and Savalas, and Riz Ortolani's flavorful orchestral soundtrack are the chief assets of "A Reason to Live; A Reason to Die." Actually, most of Ortolani's score sounds like excerpts from his "Day of Anger" soundtrack. Valerii creates some moments of suspense, particularly when they are stringing a rope to themselves. Bud Spencer goes in undercover as a Confederate soldier to help Pembroke and his men get into Fort Holman.

Interestingly, although neither the director nor the writers drew any parallels to history, "A Reason to Live; A Reason to Die" sounds something like the siege of Vicksburg. At Vicksburg, an armed citadel overlooking the bluffs of the Mississippi River, Pennsylvania born John Pemberton commanded the city and fortified themselves up against the Union Army and U.S. Grant. Like Fort Holman, Vicksburg was the gateway to the western Confederacy and its fall split the Confederacy and contributed to its defeat. Eventually, Grant starved the Confederates out of Vickburg and Pemberton was branded as a traitor for surrendering the city. When the Union Army captured Vicksburg, they cut the Confederacy in half, severing the Eastern Theater from the Western Theater. The officers in "A Reason to Live; A Reason to Die" depicts Fort Holman as a stronghold for the Union. When Pembroke gave up the fort, he was branded as a traitor like Pemberton for losing Vicksbug. Of course, events have been changed throughout the film, but you can see the dregs of history percolate up to the surface. In this respect, "A Reason to Live; A Reason to Die" isn't strictly a western

The Dirty Dozin'

[wes-connors · 2/10 · 18 July 2008]

This English re-titled "A Reason to Live, A Reason to Die" is a thoroughly unconvincing United States Civil War swipe of "The Dirty Dozen", done in the Clint Eastwood "spaghetti western" style. James Coburn (as Pembroke) leads a less than star-studded group of seven desperadoes. (Still pre-Kojak) Telly Savalas, who appeared as one of the original "Dozen", is Mr. Coburn's major foil. Mr. Savalas (as Ward) has interesting taste in sculpture art. The locations are nice, but don't seem very American. The film's relatively high level of explosions, shootings, and stabbings must have been the box office draw, back in the early 1970s. Today, you only need to play a video game.

** Una ragione per vivere e una per morire (1972) Tonino Valerii ~ James Coburn, Telly Savalas, Bud Spencer

"Go get 'em."

[classicsoncall · 4/10 · 20 January 2007]

You know, I must have missed something here because this story just didn't make much sense. During the Civil War, Union Colonel Pembroke (James Coburn) surrenders his position at Fort Holman to Rebel forces, and once court martialed, makes an offer to Major Charles Ballard to take the fort back with a handful of men. When asked why he surrendered in the first place, he stated that it wasn't important, so we never do find out. Huh?

With five outlaws saved from the gallows, and a soldier thrown in for good measure by the Major, Pembroke makes his way back to Fort Holman, dangling a five hundred thousand dollar promise of hidden gold to his rag tag band. Curiously, it seemed to me that once the bullets started to fly, Pembroke lost more men than he started out with, but then again, I wasn't counting. In what looked like the complete reverse of the situation at the end of "Butch Cassidy and The Sundance Kid", it appeared that Pembroke's bunch had the entire Rebel garrison at Holman surrounded, managing to destroy everything in sight while picking off a swarm of soldiers who never seemed to be seeking cover from all the gunfire. Holman's commander, General Ward (Telly Savalas) must have figured that being this close to the end of the flick, he might as well take Pembroke's sword to end it all. The set up seemed to suggest that Ward and Pembroke were mortal enemies, but if they were, I'm not going back to find out why.

The print of the film I viewed probably didn't help matters any, it was a cheap DVD I picked up for a buck, and was quite dark and muddy throughout. I will give credit though to Pembroke's military ally Eli Sampson (Bud Spencer), he got an awful lot of mileage out of the old, hey the War is over gimmick. As for the half million in hidden gold - nope, it never turned up.

It was either this or "The Hairy Bikers' Cookbook".Ah well........

[ianlouisiana · 3/10 · 13 February 2011]

I watched this film yesterday evening on ITV4 when I could have tuned into "The Hairy Bikers' Cookbook".Well,nobody's perfect. I can only imagine that ITV in its wisdom cut huge swathes of the storyline in order to fit it into their Saturday dead - time slot. Set during the War between the States the story opens on the eve of a mass hanging in a fort occupied by Union soldiers.For no reason that was apparent Mr J.Coburn and Mr B.Spence are brought to the fort in a waggon and the C.O. immediately seizes on Mr Coburn as the ideal man to lead a suicide raid on an enemy - held fort."I'll need 12 men" says Mr Coburn between drags on his cigarillo and delicate sips of his red wine that he has already pronounced as "good",denoting that he is a man of some culture. You see,Mr Coburn had been the officer in charge of the fort but had surrendered to the Rebs and been considered "yeller" although the fact that the Reb colonel had threatened to murder his wife and child might have concentrated his mind somewhat.Despite being handed his prize the odious colonel (Mr T.Savalas) went ahead and slaughtered Mr Coburn's family just for the fun of it. He doesn't get twelve men but plucks seven from the shadow of the gallows (including one wearing his late wife's crucifix,a point that is never explained or referred to again)and,with the promise of untold riches ringing in their ears,they set off,pausing only to have lunch at an isolated farm occupied by a family of psychos who they discover have trapped unwary Confederate soldiers and stolen whatever unwary Confederate Soldiers carry on their persons.then killed them.We don't actually see the bodies - a touch of sensitivity rather negated by the wholesale murder that occurs later in the film. They execute the Addams Family(There were four of them but I only counted three shots so possibly they lined them up one behind the other) and hop on a convenient passing Iron Horse. An awful lot of time is wasted as Mr Spence ingratiates himself with the reb grunts but eventually Mr Coburn and his scurvy crew get inside the fort and kill near enough every damn living thing except Mr Savalas who,with the dignity of an injured bull on its knees submits to the killing stroke of the sword wielded by Mr Coburn. That's the Code of the West - I guess. The music is intrusive,the guitar sounds a little flat to me,and the actual recording of the soundtrack is blurred. The dubbing is poor,the colour variable and Mr Savals's jacket as he faces his executioner is very untidy below the waist.He must have put it on in a hurry. Perhaps if anyone has seen a full - length version of "A reason to live,a reason to die",they can tip me the wink about Mr Coburn's wife's crucifix.It would be nice to know.

A Reason to Live, A Reason to Watch.

[JohnWelles · 8/10 · 1 December 2010]

"A Reason to Live, A Reason to Die" (1972) is a exciting, Civil War-set Spaghetti Western, directed by Sergio Leone's protégé Tonino Valerii and stars James Coburn, Telly Savalas and Bud Spencer.

The script by Rafael Azcona, Ernesto Gastaldi, Jay Lynn and Tonino Valerii is hardly original, amounting to nothing but a "Dirty Dozen" rehash, but it is adequate: during the American Civil War, the disgraced Colonel Pembroke (James Coburn) tries to retake a heavily defended fort that was taken by the Confederates from him without a shot fired, a mystery that helps drive his character, by using twelve recruits who he has saved from death sentences.

Despite the lack of originality in the screenplay department, the spirited direction makes the story rattle along at a breathless pace to the expertly staged, wholesale carnage at the end. Throughout, the the three leads fare remarkably well and are the only ones who are given any sort of more than superficial examination of their past. The music by Riz Ortolani, all powerful horns, is masterly, compensating for uninteresting photography.

The fast pace and direction help raise this Spaghetti Western into a higher plane, turning it into a very, very enjoyable film.

Whilst we're on the subject, it is rather difficult to fathom too many reasons as to why one would want to watch.

[johnnyboyz · 5/10 · 31 July 2011]

A Reason to Live, a Reason to Die is a daft; knowing; old fashioned yarn – a film with clichéd action figures filling in for characters and crazy shoot outs involving masses of extras acting as its high points of drama. It is a film that begins with the aftermath of a huge gun fight at an American Civil War fort; a gun fight in which an awful lot happens AT the fort, but a gun fight to which the trudging prelude across the deserts of the great American West TO the fort consists of very little. One would compare it to Peckinpah's The Wild Bunch of just a few years previously, but the getting to the fort shoot out finale in that film was around about just as much fun as the maddening final shoot out was, maybe even more: but not here. Tonino Valerii's film is all about the pomp and the circumstance, a trek across the barren sands of nineteenth century U.S.A. that is only ever mildly invigorating at the best of times; the bulk of it acting as a prelude to the all of the chaos which, by the time of its arrival, has just about seen us stop caring altogether.

In beginning with the fallout of the all out warfare, the film reveals to us its hand in regards to precisely where it's headed; a tactic we do not necessarily mind, and have indeed come to quite enjoy under varying guises from throughout cinema's long history. Some of the better instances, and the range of examples can be rather vast, arrive in the form of De Palma's Carlito's Way or Billy Wilder's classical era noir Double Indemnity; as two films with the eerie ability to snare us into proceedings and still have us as involved as much as we are by the time the conclusion arrives in exactly the manner we saw or heard during the opening beats. Valerii's film follows that of James Coburn's disgraced colonel Pembroke, and his propulsion from such a state into the messy world of suicide missions and open warfare in which he is the leader of an array of troops one would be a fool to not label the underdogs as to where they're eventually to head.

When we first come across Pembroke, it is when the man is scraggly and worn in spite of his rank. He is a thief; a man on his way to jail, that is until he is identified by another official of a more gracious ilk and called into his quarters for a talk. An appreciator of fine wine and enjoying the high life that comes with having gone through the system, a life including armed guards; respect, it seems, and the ability to be so eloquent in one's multi-tasking when speaking of the wine and the mission in equal balance, Pembroke's saviour and his sitting opposite the bedraggled Pembroke displays, in sharp contrast, the deep difference between what a colonel should be and what Pembroke is. Pembroke has proposed to him a mission, a mission to try and recapture a fort for this, the side of the Union Army, from that of the Confederates whom took it under the command of Telly Savalas' Major Ward – a recapturing, it is deemed, that is best preordained by that of an underground tunnel which needs to be taken first. As the gallows outside are readied, and Pembroke contemplates his situation, he begrudgingly accepts and proceeds to round up a disparate array of Apaches; Mexicans; fanatics and rapists from the death roll for this dangerous mission.

Pembroke, indeed the majority of the clan, are effectively on a quest for redemption; a quest surmised by the fact the nickname for the large fort they're due to take is that of the "Pulpit", in regards to its situation on that of a mountain, but a highly religious nickname neatly encapsulating the redemptive element of their mission as they attempt to do good for a change, and get the commanding officer back at the base whom sent them away the promotion he feels he deserves. People will be quick to point out the ties to The Dirty Dozen, but Valerii's piece owes so much more to Leone's game-changing Spaghetti Western The Good, The Bad and the Ugly; an apparently knowing point of inspiration inherent with the fact Pembroke initially brushes off enquiries to the rest of his crew with the promise of enemy gold buried out there in the region of where they're headed.

Alas, the rest of the film is not up to the standard of Coburn's grizzled, underplayed performance of which he instills within his character and unloads into the film; the man playing the material in a fashion that is better than what the film deserves and is a performance which belongs in a better film. There are skirmishes with those they come up against; disagreements within the band of proverbial brothers as one or two of them express their desires to flee, the bedding down for a night's sleep ought to being a good source of tension as Pembroke's no-nonsense attitude clashes with cut-throats wanting to flee, but it mostly falls flat. One occasion witnesses the stumbling across of a secluded farm, a set piece that, again, ought to rack up a fair degree of tension what with the group of bandits and rapists Pembroke has in tow being forced into sharing the same space as decent civilian folk, but it fails to induce much in the way of effective drama and instead leaves rather-a nasty taste which feels misplaced in an otherwise guilty, old fashioned romp which is a deeply underwhelming experience on the whole.

A Reason to Live, A Reason to Die

[henry8-3 · 5/10 · 15 April 2024]

With very obvious shades of 'The Dirty Dozen', ex Colonel James Coburn, in a bid to reverse the prevailing view that he's a coward, announces that a number of men who are about to be hanged can go free if they help him recapture Fort Holman - he had apparently too easily surrendered the fort before to evil Telly Savalas. The men agree to support him, but later turn on him only to be told that there is $500,000 in gold in the fort - which persuades them to stick around.

This is a perfectly solid, unremarkable spaghetti western with lots of grumpy and grubby Italians supporting superstar Coburn on yet another impossibie mission. Coburn is Coburn, Savalas is Savalas, leaving Terence Hill's long time partner Bud Spencer to walk off easily as the best character and actually, actor. The final scenes are pretty good fun and provide plenty for the stunt and explosive effects guys to keep them busy plus it has quite a nice score..

To note: there is a scene that is intended to be tense where a rope gets stuck in a crack in a rock face - this goes on for ages, isn't tense and is in fact very silly.

Disappointing

[pmtelefon · 4/10 · 8 February 2024]

I've seen a bunch of spaghetti westerns. I know they are a hit or miss affair. I actually had pretty high hopes for "A Reason to Live, a Reason to Die". I set myself for failure. It's not a fun watch. James Coburn is one of the greats, Bud Spenser is very likeable actor and Telly Salvalas can be a great villain but, unfortunately, the script wastes the opportunity. The first ten minutes are very good. As are the last ten minutes. But all of the stuff in between, is nothing special. And when they get to the fort, the movie looks more like it takes place on Mars than during the American Civil War. This one let me down.

Funny, fast—paced and dramatic Coburn, B. Spencer and Savallas western

[Cristi_Ciopron · 8/10 · 12 December 2007]

The fine quality of this comic and then very dramatic Coburn & B. Spencer western was a surprise for me.

This heterogeneous and satisfying western is an odd proof that Valerii was an underachiever and that he should of been one of the most respected western directors ever. The movie is, as I said, very heterogeneous; but it also shows a flawless gusto and an unfailing taste for what an action film must be, and has an admirably pure line, there is this purity of the narration that makes it especially likable.

In a few words, it is the Dirty Dozen set during another war—in 1862, I think.

It has been noticed that there are some WW 2 action films that are essentially westerns. Well, here we got the symmetrical situation: the Coburn western is essentially a commando flick.

A commando of only eight men, all evildoers (Coburn and B. Spencer are the most familiar faces …) is sent to conquer a fort; the fort is ruled by Major Ward (i.e., Savallas). Savallas and his soldiers are Southerners.

In a too small role, Savallas makes yet another of his outstanding villains.

Coburn's character isn't a lowlife, but a Colonel that wants to conquer the fort that he surrendered to Major Ward.

Most of the film is made in a humorous key. B. Spencer is the protagonist of all sorts of bodily jokes, there are discussions about buttocks, urinating and umbilical region. If you allow me an impious thought, who could imagine Wayne, G. Cooper or Mitchum forcing unsuccessfully to urinate, simulating vainly that they urinate, and complaining about their asses being inflamed by horse-ride? I guess it somehow depends on your particular sensibilities, yet this comic is never displeasing or misplaced or disgusting. It is simply Gargantuan joking.

The very long fight scene is particularly pleasing—once the commando enters the fort, a long battle begins. The movie's end is somehow a twist—for me, it was a twist—I expected a duel, etc.. Anyway, Savallas is very good. These three actors—Coburn, B. Spencer and Savallas—give the film a particular charm.

The fight scene is indeed an interesting one, though on another level than the rest of the movie—it's like the film suddenly changes—the feel, the style change suddenly, and we get one of the finest fight scenes, like an ultra—compact Dirty Dozen!

During this last part of the movie—the fight—the tone becomes intensely and convincingly , seriously dramatic. One could define the film in its entirety as a very funny, comical western, excellently played, and with a long very dramatic fight scene. Coburn meeting Savallas is really chilling and thrilling—and Savallas indeed looks as if he was dying when Coburn pierces him with the sword. I dislike disclosing here the end—yet Savallas' death was of course foreseeable and on the other hand and much more important Savallas' death scene is so important and finely done and interesting that it of course deserved to be explicitly mentioned here.

A Reason to Live, a Reason to Die is rather short. B. Spencer has most of the screen time. Everything seems to happen very quickly; Eli's (B. Spencer's) sabotage techniques allow for many funny things to be played. Eli and the Colonel are the only two good guys in the film; Eli is as intelligent as the Colonel, and sides with him on every occasion.

The humor is of course manly and also very unsubtle; the naturalness gives charm to the comic strips story, while B. Spencer's sometimes aggressive humor is amusing in his usual buffoonish way. This '72 western comes towards the end of B. Spencer's career in the westerns—in '73 he'll launch his Piedone. He alternates placidity with aggressiveness ,having already found the formula of his action roles.

On the other hand, I have to say that, with all its merits and qualities, A Reason to Live … remains a modest thrilling funny likable action western, and it's in no way the …equal of a film like The Dirty Dozen (where everything was infinitely better, worked much better, etc., there was plenty of action and suspense, the characters had their individuality and the finest actors abounded!).

Massacre at Fort Holman!

[TankGuy · 10/10 · 6 January 2014]

Two men, Colonel Pembroke(JAMES COBURN)and Eli Sampson(BUD SPENCER),stand in the middle of a fortress, Fort Holman, littered with dead bodies, in the aftermath of a bloody battle. The story is told in flashback and as the two men leave the deserted and destroyed fortress, the film begins from the start and depicts the events leading up to the massacre. During the American Civil war, a disgraced Colonel Pembroke is brought back to his union superiors after having escaped from a Confederate prisoner of war camp and been arrested for looting. It turns out that Pembroke was in charge of the garrison at Fort Holman, but surrendered to Confederate Major Ward(TELLY SAVALAS)and his rebel forces without a single shot being fired, which allowed Ward to take over the Fort without a fight. Although branded a coward and a traitor, Pembroke's superior officer gives him the chance top redeem himself, by re-taking Fort Holman. Pembroke selects 6 men to take with him on his mission,4 convicts, a dubious army Sergeant and Eli, whom he met shortly after his escape from the POW camp. As the men set out on their mission, we soon find out Pembroke's personal motivation for giving up the fort, and wanting to take it back...

A REASON TO LIVE,A REASON TO DIE is one of my favourite Spaghetti Westerns,the highlight of the whole film has got to be the climatic battle inside Fort Holman.The whole sequence was spectacular, exhilarating,absolutely riveting and shot in a fun, exciting way.As with every other Spaghetti western, the stunts in this sequence are awesome, the shots of masses of soldiers being gunned down by Gatling Guns and pistols and furiously flinching, falling down steps and off of walls as they got shot were fantastic and sent my pulse pounding and adrenaline surging through my veins. The massive explosions were mind blowing and the shots of the wagon sheds angrily exploding with flames tearing them apart blew me away, I was completely awestruck by how I could feel the thundering impact of every explosion as the camera shook violently every time something was blown apart. Pembroke and his men kick ass and raise hell in rollicking Spaghetti western fashion as they throw packs of Dynamite over the fort walls and into the fort, destroying the entire place and taking out dozens of men and tearing up buildings. One part in this sequence which made me laugh was when Eli grabs two soldiers manning a Gatling Gun, bashes their heads together and throws them off of the fort wall. I was extremely impressed by the Fort Holman set and awestruck just by how vast and huge it was and how expertly designed and built it was.This final battle is the only action scene in the whole film and the director does a great job in building up to this explosive, ear shattering, all-guns-blazing finale.

The cinematography was incredible, with stunning shots of the rocky, sun baked mountains, as I've already stated, the excitement and energy of the final battle is captured magnificently. The shots of the Steam Engine chuntering down the track early in the film were also excellent. I thought Colonel Pembroke was a strong character and was portrayed excellently by James Coburn, even though he gets very little screen time, Telly Savalas absolutely superb as the crazed Major ward, I loved the part during the battle in which he shoots a deserting soldier before screaming "There'll be no time for court martials, EXECUTION ON THE SPOT". Bud Spencer was magnificent and the guy who played the brutal union Sergeant also gave a decent performance, I also thought the dubbing was terrific, although the voices of James Coburn and Telly Savalas sounded genuine, I thought the rough, deep voices of the characters were cool/The storyline was appealing, interesting and marvellously gritty and the pacing was satisfactory with the men constantly getting closer to the fortress. The final scene between Colonel Pembroke and Major Ward was chilling, taut and really nail biting and shot in a mind blowing, gut wrenching way, I sensed a brief anti war comment at the end of the film when Colonel Pembroke cuts down the confederate flag, then throws down his sword and takes off his gun belt and throwing it on the ground. I had no fingers left after the men scaled the cliff face, the shots here were amazing too.Riz Ortolani's score was exceptional, the title music was beautiful, it reminded me of the music in the American westerns of the 40s and 50s.The hairs on the back of my neck stood up prior to the battle as Pembroke and his men emerge on a ridge and shoot two guys before Pembroke screams "GO GET EM" and the men charge towards the fortress and begin hurling dynamite over it's walls as the epic soundtrack plays in the background.

A REASON TO LIVE,A REASON TO DIE is a flawless Spaghetti Western,it has an engrossing, intriguing and intelligent civil war storyline,fantastic script and characters, stupendous and brisk camera-work, a tremendous soundtrack which sounds magnificent in the film, dozens of intense and exciting scenes which are well directed, shot and paced and an electrifying,out-of-this-world action sequence to top it all off.10/10.