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Duello nella sila (1962)

Italian western set in the southern Italy before the unity. Antonio Franco's sister is been murdered by a gang of bandits. He swear vengeance and manage to infiltrate the gang to find the murders.


Umberto Lenzi


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Cast overview, first billed only:
Fernando Lamas ... Antonio Franco
Liana Orfei ... Maruzza
Armand Mestral Armand Mestral ... Rocco Gravina
Enzo Cerusico Enzo Cerusico ... Nilo
Nino Vingelli ... Sila
Vincenzo Musolino Vincenzo Musolino ... Rete
Loris Gizzi Loris Gizzi ... L'intendente
Edoardo Toniolo Edoardo Toniolo ... Don Salvatore
Gino Buzzanca Gino Buzzanca ... Barone Carteri
Daniela Igliozzi Daniela Igliozzi ... Dina Franco
Franco Jamonte Franco Jamonte ... (as Franco Iamonte)
Ignazio Balsamo Ignazio Balsamo
Gino Marturano Gino Marturano
Amedeo Trilli Amedeo Trilli
Emma Baron


Italian western set in the southern Italy before the unity. Antonio Franco's sister is been murdered by a gang of bandits. He swear vengeance and manage to infiltrate the gang to find the murders.

Plot Summary | Add Synopsis

Plot Keywords:

outlaw | gang | fugitive | See All (3) »


Brutal Murder...Barbaric Reprisals...Savage Love... See more »







Release Date:

21 April 1962 (Italy) See more »

Also Known As:

Duel of Fire See more »

Company Credits

Production Co:

Romana Film See more »
Show more on IMDbPro »

Technical Specs

Sound Mix:




Aspect Ratio:

2.35 : 1
See full technical specs »

Did You Know?


Featured in Dusk to Dawn Drive-In Trash-o-Rama Show Vol. 6 (1999) See more »

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User Reviews

DUEL OF FIRE (Umberto Lenzi, 1962) **1/2
28 March 2014 | by Bunuel1976See all my reviews

I was not expecting much from this film, especially since I was only vaguely aware of its content: that said, I ended up being pleasantly surprised by the outcome – even if it did not prove that much of a spectacle (despite the period setting). In fact, the intense and rather downbeat narrative unfolds against a backdrop of class manipulation and ruthless banditry in 19th century Sicily: the young sister of protagonist Fernando Lamas rejects the advances of a middle-aged baron (who boasts of having had every girl in the village!) and leaves her home on a stagecoach, which is then waylaid by outlaws – the passengers are all killed but not before she has been gang-raped!

Lamas, knowing the reason why she had tried to start a new life elsewhere, sets out on his revenge by first eliminating the lecherous nobleman (after literally playing a game of hide and seek with him during a religious procession!). His plan to get even with the desperadoes, however, is more elaborate – as he determines to infiltrate the outfit and learn the names of every man responsible for his sister's violent death; to this end, he finds an unexpected ally in British lady journalist Lisa Gastoni (less showy than either of the other roles for Lenzi that I have just watched her in, namely QUEEN OF THE SEAS {1961} and MESSALINA VS. THE SON OF HERCULES {1964}) intent on interviewing – and, by extension, bestowing celebrity upon – the group. Anyway, the hero's baptism of fire sees him single-handedly liberate one of their number from the gallows; besides, he falls for the redheaded sister (played by Liana Orfei) of another member.

Before long, the true nature of both Lamas and Gastoni are discovered: the latter is shot dead in cold blood, but he is hounded all over the plains by his would-be cohorts (the title presumably refers to his showdown with the mob leader) and, unsurprisingly, the girl sides with her lover in the matter (even if he is forced to kill her own sibling). The last act, then, acquires Shakespearean overtones (specifically "Hamlet") – as the dusty ground becomes riddled with corpses, including the romantic couple expiring in each others' arms. This particular fate of the protagonists, the film's very title and the presence of bandits in the narrative also points towards the shadow of David O. Selznick's super-production DUEL IN THE SUN (1946) looming large over it. With this in mind, the film has a modest tragic power to it that, effectively complemented throughout by agreeable visuals, makes for an undeniably interesting (if minor) outing in the "Euro-Cult" stakes.

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