by Steve Habrat
For years, Quentin Tarantino has been hinting that he wanted to make a spaghetti western. He constantly gushes about Sergio Leone’s classic epic The Good, The Bad, and the Ugly (it’s his favorite film) and he even nabbed a bit part as a Clint Eastwood type gunslinger in Takashi Miike’s tepid Sukiyaki Western Django. We knew his take on the gritty western was coming but we didn’t know exactly when. Well, that long rumored epic he has been hinting at is finally here and I must say, I think Mr. Tarantino has outdone himself and delivered one of the finest films of 2012. Red hot with controversy (the N-word is used A LOT), Django Unchained is a firecracker of a film that finds the talkative director at his wildest and craziest. For years, audiences have been split over his kung-fu/spaghetti western mash-up Kill Bill, some saying he flew too wildly off the rails (I hear many describe it as “weird”) while others smack their lips at the cartoonish carnage. Me, I was all for a Tarantino western and I couldn’t be happier with the results. Yes, Django Unchained is a difficult pill to swallow with its harsh look at slavery but remember that this is Tarantino’s version of history and that alone should tell you everything you need to know about the film. Django Unchained is ultimately a valentine to a genre that Tarantino adores, which makes it easy to forgive some of the edgier moments of this masterpiece. I would go so far to say this is Tarantino’s strongest film and the one that seems to be the most alive with the spirit of 70s exploitation cinema. Maybe this should have been the film he made for his portion of Grindhouse.
Set two years before the Civil War, Django Unchained begins on a cold Texas night with a group of recently purchased slaves being transported through the countryside by the Speck brothers. As the group shuffles through the night, they are approached by Dr. King Schultz (Played by Christoph Waltz), a German dentist turned bounty hunter who is looking for a specific slave named Django (Played by Jamie Foxx). Schultz is hunting for a trio of deadly gunslingers known as the Brittle brothers and Django is the only one that can identify them. Schultz and Django make a deal that if Django takes Schultz to the Brittle brothers, he will help Django locate his long lost wife, Broomhilda (Played by Kerry Washington), who has been sold to a sadistic plantation owner named Calvin Candie (Played by Leonardo DiCaprio). As Schultz and Django bond, Schultz realizes that Django has a talent for the bounty hunting business and he begins showing him the ropes. The two form a deadly alliance that sends them to Mississippi, where they begin devising a way to infiltrate Candieland, Candie’s ranch that is protected by his own personal army and houses brutal Mandingo fights.
Just shy of three hours, Django Unchained covers quite a bit of ground during its epic runtime. It is jam packed with Tarantino’s beloved conversations, something that he knows he is good at and just can’t resist. The conversations are as fun as ever, but sometimes Django Unchained is just a little too talky for a spaghetti western. It is just odd to me that Tarantino would be making a tribute to spaghetti westerns and then never shut his characters up (For the love of God, his favorite movie is The Good, The Bad, and the Ugly!). I would expect someone like Tarantino to know that the gunslingers from Sergio Corbucci’s west sized each other up through razor sharp stares and not through constant chatter. No worries though, as I am sure that most audience members won’t pick up on this so it doesn’t really damage the overall product. Despite this minor nuisance, if you are a fan of westerns or exploitation cinema, you will be bouncing off the walls with delight. Tarantino zooms his camera in and out of action suddenly (it is hilarious every single time), getting right in a characters face or zooming out suddenly from a close up to reveal a jaw dropping landscape behind them. He laces his film with tunes from Ennio Morricone and Riz Ortolani, two instantly recognizable names if you’re up and up on your Italian westerns and cannibal films from the 60s into the 80s. When the gore hits, it is cranked up to the max. The blood often looks like the red candle wax goop that poured from gunshot wounds or zombie bites in the 70s. Hell, even Franco Nero, the original Django from the 1966 film (if you’ve never seen the original Django, you might want to get on that), shows up for a brief cameo! Are you exploitation nuts sold yet?
Considering this is Tarantino’s show, the performances are all top notch and instant classics. I was a little worried about Foxx starring as our main gunslinger Django but he is on fire here. He channels Eastwood and Nero’s silent heroes like you wouldn’t believe while also adding a layer of quivering mad sass to the character (Get a load of the delivery of “I LIKE THE WAY YOU DIE, BOY!”). I loved it every time Tarantino would zoom in to give us a close up of his scowling mug as it chewed on a smoke through tangled whiskers. He wins our hearts through his heartbroken stare and his determination to get poor Broomhilda back from Candie’s clutches. He instantly clicks with Waltz’s Schultz, a devilishly funny and clever bounty hunter who packs a mean handshake and can talk himself out of any situation. Waltz brings that irresistible charm that he brought to Inglourious Basterds and settles into the character quite nicely, a cartoonish cowboy who nabs all the best dialogue. When Foxx and Waltz are on screen together, the chemistry between them unbelievable. One is strong and silent, a pupil who is eager to learn and win back his life while the other is chatterbox joker who is deadlier than anyone could imagine. They alone will lure back for seconds.
As far as the rest of the cast goes, DiCaprio practically steals the film away from Foxx and Waltz as the bloodthirsty Calvin Candie. He is sweet as sugar one minute and the next, he is ordering his men to feed a terrified runaway slave to a pack of hungry dogs. You won’t fully appreciate the power of his performance until you get to the dinner sequence, which finds tensions rising to the point where Candie snaps and cuts his hand on a champagne glass. I honestly think he will earn an Oscar nomination for the hellish turn. Then we have Samuel L. Jackson as Stephen, an elderly house slave that spews more profanity than his character in Pulp Fiction. Along with Waltz, Jackson gets to deliver the feisty lines of dialogue and you can tell he loves every second of it. He disappears in the role to the point where you can’t even tell it is him. The role also serves as a reminder of just how good an actor Jackson truly is. Washington gives a slight and sensitive performance as Broomhilda, Django’s tormented wife. Keep your eyes peeled for an extended cameo from Don Johnson as Big Daddy, another wicked plantation owner who leads a bumbling early version of the Ku Klux Klan. Also on board are Michael Parks, Tom Savini, Jonah Hill, Bruce Dern, Franco Nero, and Tarantino himself, all ready to grab a chuckle from those who will recognize them.
As someone who has been a fan of Tarantino’s work for years, I have to say that I firmly believe that Django Unchained is his best film yet. It is unflinching with how it handles slavery while also staying shockingly lighthearted at the same time. It packs a gunfight that features more blood, guts, and gore than anything he threw at us in Grindhouse and it manages to tell a touching buddy story that creeps up on your emotions. I just wish Tarantino would have paid the extra dough and digitally scratched the film to make it feel even more like an authentic exploitation film. Overall, Tarantino proves that there is still some life left in the western genre and he gives it a massive shake up by fusing it to the blaxploitation genre. It may not be historically accurate but Tarantino has the good sense not to sugarcoat this dark chapter of American history. There are some tough moments but he never shies away from having fun and slapping a big smile right on your face. Long live Django and long live the spaghetti western. Django Unchained is one of the best films of 2012.
by Steve Habrat
When you first hear about Japanese auteur Takashi Miike’s samurai/spaghetti western mash-up Sukiyaki Western Django, you can’t help but be intrigued if you are a fan of either genre. Any unlikely genre mash-up is going to grab the interest of cinema fanatics and when you say the unpredictable Miike is behind the camera, it becomes a must-see film. But, like most genre mash-ups/hybrids, Sukiyaki Western Django is immensely disappointing. Way back in 1964, Italian filmmaker Sergio Leone was inspired by Akira Kurosawa’s samurai film Yojimbo and he loosely based his first spaghetti western A Fistful of Dollars off of Kurosawa’s film and ended up reinventing the genre. The east was the inspiration for the new vision of the west that was emerging out of Italy. With Sukiyaki Western Django, Miike pays tribute to the two classics and fuses the spaghetti western to the samurai film then attempts to conceal the line where he connected them. The result is a surreal and often times cartoonish vision that also attempts to weave in some traces of Japanese history. Unfortunately, Sukiyaki Western Django, which is named after a popular Japanese one-pot beef dish and Italian filmmaker Sergio Corbucci’s legendary spaghetti western Django, has a flavor that is tasty on the first bite but quickly begins droning on the viewer until Miike dumps a whole bucket of salt and pepper on the feisty gunfight at the climax.
Sukiyaki Western Django picks up in the small town of Yuta, Nevata, where two warring gangs, the Heikes (reds) and the Genjis (whites), are waging a battle for control of the town. One day, an unnamed gunman (Played by Hideaki Ito) wanders into Yuta and offers up his service to whichever gang will pay more. After demonstrating his skills, both make generous offers to this mysterious gunman but he isn’t entirely interested in their offers. The gangs are after gold that is buried somewhere near the town and one gang is importing a weapon that can give them the upper hand in their battle. The gunman begins playing to two gangs against each other in an attempt to wipe both of them out and make off with the gold for himself. As the war grows more and more violent and the body count racks up, the gunman finds an ally in a legendary gunslinger that has been hiding in plain sight of the gangs. Her name is the Bloody Benton (Played by Kaori Momoi) and she happens to be an independent one-woman killing machine.
Sukiyaki Western Django opens with a nifty sequence that involves a lone gunslinger named Piringo (Played by Quentin Tarantino) who finds himself confronted by three cowboys who wish to kill him. Miike doesn’t make any attempt to hide the fact that his actors are on a soundstage with a painted backdrop behind them and a very visible string holding up the giant sun. The sequence is suggestive of films like The Searchers, Once Upon a Time in the West, and A Fistful of Dollars all in one breath. It is the most inspired sequence in Sukiyaki Western Django, Tarantino getting his dream role of emulating Clint Eastwood’s Man with No Name. If Miike had run with this technique throughout the entire runtime, Sukiyaki Western Django would have no doubt been a much better and cooler film. When the film travels to Yuta, he switches over to real landscapes, intense color pallets, and lots of special effects which all get worn out before they even get going. Miike finally gets things back on track during the final shoot out where he slips in references to The Good, The Bad, and the Ugly, Django, and The Great Silence. This is a sequence that will have fans of the genre erupting in applause. It is a sequence that also single handedly saves Sukiyaki Western Django from crumbling like one of the ramshackle buildings that dot the town of Yuta.
One choice that Miike makes that is very questionable is having his Japanese actors abandon their mother tongue and speak broken English. On one hand, it is understandable why he would make this choice, approaching the western genre that finds its roots in America, but it is clear that some of his actors are having a difficult time with the English language and that they would have been more comfortable speaking their own language. In my opinion, if he would have stuck to the Japanese language, Sukiyaki Western Django would have been a much more coherent film and much easier for the viewer to follow. At times, I found myself getting lost and finally switching on the subtitles so I could understand some of the actors and keep up with the plotline. Once I did this, Sukiyaki Western Django clicked together ever so slightly. Miike also makes the mistake of not fleshing his characters out enough, turning them into silly caricatures that look like they leapt off the pages of a comic book and left their back stories in the mind of their creator. You can’t particularly care about any of them and they all just fill the screen to become moving targets for shotgun blasts. The actors seem to be having fun with their characters but no one actually inhabits their character and brings them to life.
Sukiyaki Western Django exists simply to be an in-joke to the hip cinema crowd and I must admit that I enjoyed a few of those in-jokes. I found the references to Yojimbo and the spaghetti western classics to be comical but I wish that Miike’s film had created its own world rather than just cobbling together borrowed blood-dipped chunks of other director’s cinematic worlds. The film will also appeal to those who have a strong interest in world history, as the film makes a fistful of references to historical events including England’s Wars of the Roses and Japan’s Genpei War. To me, Sukiyaki Western Django turned out to be a middling film that left me dissatisfied because I thought it was capable of so much more but it wasn’t interested in aiming higher. I tend to enjoy Miike’s depraved work even though it makes me want to loose my lunch after it ends but this particular film never comes together when it needs to, especially when it is giving clunky, vague and longwinded explanations of its plotline that are ultimately forgettable. Miike does add a bit of kick with the awesome opening sequence, the very cool Bloody Benton character (the only one given an intriguing backstory), and the outrageous climatic showdown. If you find yourself to be the fanatic of Japanese cinema and history, a guru of westerns, spaghetti westerns, Yojimbo, Quentin Tarantino, Miike, and his entire body of work, you will eat up Sukiyaki Western Django. If you are only some of those things or none of those things, you’re going to find this film to be an incredibly uneven experience and a chore to endure.
Sukiyaki Western Django is now available on Blu-ray and DVD.
by Steve Habrat
The spaghetti western genre can be a truly grim affair, from the shifty characters to the unflinching violence right to the decrepit towns. Enzo G. Castellari’s 1976 Keoma is no different. Keoma goes a step further and early on establishes an apocalyptic atmosphere with barely any hope in sight. Despite the doom and gloom, Keoma is one of the most scenic spaghetti westerns I have seen, one that has obviously been treated with care since its release and embraces any opportunity to show off the mountainous landscape. Keoma is a must-see spaghetti western for two other unique approaches. The film is narrated almost like a Greek tragedy, the story guided along by a male and female singer that provides us with our hero Keoma’s inner thoughts and several nifty slow-motion shootouts, slowed down so we can see the victims doing a dance of death right before they hit the ground. They are vaguely evocative of the shootouts in The Wild Bunch and Thriller: A Cruel Picture in their splendor and horror.
Keoma follows a half-breed gunslinger named Keoma (Played by Franco Nero) who returns to his plague-ridden hometown after service in the Civil War. After saving a sick woman named Lisa (Played by Olga Karlatos) from a group of brutal gunslingers who are rounding up plague victims, Keoma learns that his hometown is in control of a brutal landlord named Caldwell (Played by Donald O’Brien). Making things worse, Keoma’s three brothers are looking to join forces with Caldwell and they wish to do away with Keoma. Teaming up with his father, William Shannon (Played by William Berger), and their ex-slave and servant George (Played by Woody Strode), Keoma begins trying to help the plague victims of the town, bringing in medicine, food, and a Marshall to bring law and order to the community. In the meantime, Keoma has to stand up to Caldwell and finds himself hopelessly outgunned.
Unlike other spaghetti westerns, where the characters sit around and stare at each other and mumble little snippets of dialogue (don’t take that as negative criticism, I absolutely love westerns like that), Keoma is a chattier experience and one that is much more action packed than other entries. In fact, I was truly taken aback by the extended gunfight at the climax of the film, one that lasts about twenty minutes. This is a film that is galloping along right from the windy opening scene. In such films like Sergio Corbucci’s The Great Silence, Django or even the films of Sergio Leone, the violence was sudden and short, startling the viewer with how quickly it started and how fast it ended. Keoma draws these sequences out and then proceeds to slow the violence down, exploiting it just like a good sleaze picture should. The end shoot out is at times redolent of Sam Peckinpah’s 1969 The Wild Bunch crossed with Bo Arne Vibenius’s Thriller: A Cruel Picture, the camera glued to the waving ribbons of gore spilling out of the bullet holes of the dead. I was also impressed with the way the film has held up all these years, a clear picture, timeless acting, and expert dubbing (I point this out because these films are usually poor in the dubbing department).
Keoma packs a steely-eyed performance from the gruff Franco Nero as Keoma. Imagine if Johnny Depp had time traveled back to the 1970s, grew a thick beard, and dawned a cowboy hat. If you can make a mental image of that (I doubt that is very difficult), you have Nero’s Keoma. Keoma isn’t a man interested in money or wealth. He only sets his sights on bringing law and order to a town without any and in the process, protecting those who can’t protect themselves. He’s a far throw from Eastwood’s The Man with No Name when it comes to his morals but he is still a man who doesn’t have infinite amounts to say. Sure he speaks more than The Man with No Name, but he hates scum that has too much to say. Those who do end up meeting the blast of his double barrel shotgun. Another standout in Keoma is Woody Strode as George; a pitiful ex-slave with petrified eyes and who is consistently enduring malicious racial slurs spit at him by Caldwell’s men. He is a man who was once honorable, a man who Keoma looked up to when he was just a boy. When we meet him, he is a slouchy drinker who doesn’t stand up for himself. Your heart will break when one of Caldwell’s men walks up to him and urinates on his boots, making a fool of George even though he was just trying to do the right thing. When George finally picks up a gun (and crossbow) and joins Keoma to defend the town, you will want to stand up and cheer.
Director Castellari makes Keoma a standout with some inventive camera angles that makes the film an artful journey into the west. The opening scene has the camera sitting stationary inside an abandoned structure, mostly in the dark except for the light streaming in from a slamming screen door where we can faintly see Keoma ridding through a ghost town. The door is to the right if the screen, the camera almost trying to remain elusive and reluctant to enter the ailing world. Another scene finds the camera placed behind a piece of wood that Keoma and his father are using as target practice, the picture slowly being revealed from the holes shot into the wood. Castellari compliments that unique camerawork with a shrieking score that is the furthest thing from the jangly Ennio Morricone scores that were so popular in these films. The score is used to allow us to hear the thoughts of the characters and sometimes acts as our own inner advice to the characters. It suggests that Keoma should run away with Lisa and start a new life, fleeing the danger that is slowly closing in around them. It also narrates the tension between Keoma and his three nasty brothers, their fractured relationship told in both the score and in flashbacks that play out right before the eyes of the adult Keoma.
For fans of the spaghetti western, Keoma is a must-see for its hasty pace, drawn out action, and doomed love story all told on an apocalyptic stage. At times, the score can get a bit distracting, a nice and inimitable idea but not always as harmonizing as it should be. Another small gripe I had with the film is that the villain Caldwell is slightly brushed over and left underdeveloped. Overall, I had fun with the tragedy that is Keoma and I loved the way the film embraced rollicking action sequences. Next to Leone’s work, Keoma has aged remarkably and is easily accessible to those who are usually put off by older films like this. If you love your westerns with an unconventional touch, seek out Keoma immediately. You will not be disappointed.
Keoma is available on DVD.
by Steve Habrat
With the western genre beginning to loose steam in America during the 1960s, new interest in the genre was sparked with the emergence of Sergio Leone’s dusty A Fistful of Dollars, a rock-n-roll reinvention of the fatigued western genre. A Fistful of Dollars was the first spaghetti western to land in America and introduce audiences to the rising star Clint Eastwood and his iconic Man with No Name, arguably the best western character ever created. The spaghetti westerns that were coming from Italy were rougher and tougher than the ones America was churning out, westerns where the line between right and wrong were blurred and the violence was cranked up to the max. A Fistful of Dollars is one of my favorite westerns and perhaps one of the most influential, boldly breaking new ground and embracing a dark edge inspired by Akira Kurosawa’s Yojimbo. This is the first film that introduced many to the genius of Ennio Morricone and his whistling scores.
A Fistful of Dollars follows the Man with No Name (Played by Eastwood) as he arrives in a small town on the Mexican border. Once he arrives, the local innkeeper Silvanito (Played by José Calvo) informs him that the small town is caught in a deadly feud between two families—the Rojo brothers and the Baxters. The Man with No Name sees this feud as an opportunity to begin playing the two families against each other and make some large sums of cash in the process. The Man with No Name uses a group of Mexican soldiers mosey into town with a large shipment of gold as a chance to spark up a conflict. As the feud grows deadlier and deadlier, The Man with No Name pushes the malicious and clever Ramón (Played by Gian Maria Volonté), one of the leaders of the Rojo gang, a bit too far and puts his life in danger.
What is instantaneously atypical about A Fistful of Dollars is the fact that the film refuses to allow us to root for the sheriff of the small town, the ones who stand for law and order. It breaks the mold laid by the American westerns where you root for the honest, ethical, and steadfast. Here we root for a man who operates in a gray zone, someone only looking to benefit himself and no one else. He is better than the Rojo gang but the Man with No Name still operates outside the law. He is interested in personal gain and wealth, seeing the dispute as a game of chess, his squinty eyes carefully plotting his next move. He is shrouded in mystery, hidden in a poncho and always chewing on a cigar. What is his story? We find ourselves drawn to those we do not know and we actually like someone we know nothing about more than when we learn about their past, present, and future. This is precisely why the Man with No Name possesses a magnetism that in my eyes can’t be matched.
Leone’s portrayal of the west is another standout of A Fistful of Dollars, giving us a vision that is the furthest thing from romanticized. Much like the morals at their heart, the American western was concerned with presenting a glossed over version of the Wild West, a place where love stories flourished along with the good old boy heroes. Leone’s west wasn’t a place where the good guys wore white and flashed a badge and the mean old outlaw was dressed in rebellious black. Just like the fine line our hero walks, this west is shifty, deadly, and often repulsive. Here cowboys and outlaws chug whiskey, womanize, kill for entertainment, and pick gunfights out of boredom. For such a depraved place, Leone mirrors it in the run down builds that dot the town. Everything just seems like it is rotting away into the blowing sand right down to the sweaty close-ups that Leone loves to shove our faces in. Faces are weather worn, wrinkled, crack, toothless, and broken. It is a place where even the viewer keeps an eye on the gunslinger at the bar in the background, a place where apprehension rules every move we make. Leone, it appears, wouldn’t have it any other way.
Leone also finds beauty in silence and glances, a touch that would become increasingly popular in his work. In A Fistful of Dollars, the Man with No Name talks more than he does in For A Few Dollars More and The Good, The Bad, and The Ugly. Yet when dialogue is spoken, it is cynical and pessimistic, no one ever truly offering a word of hope that things will get better. Leone ties silence with tension, allowing faces and eyes to do all the talking and squinting to signal it was time to draw your pistol. These silences usually build up to explosive gun fights that last five seconds at their longest. This approach would go on to inspire Quentin Tarantino, who is very vocal about his love of Leone’s work. It is this approach that separates the loyal fans of Leone from the one’s who prefer films that are talkative. And yet the anti-social personality of his work mirrors the anti-social behavior of the characters he photographs.
In film school, one of my professors praised Sam Peckinpah’s 1969 epic The Wild Bunch as the film that captured the dramatic shifts in American society in the 1960s. He claimed that the film acknowledged the death of the conservative values and the beginning of a new era. I’ve always wondered where that left Sergio Leone’s work, especially his Dollars trilogy. Leone’s A Fistful of Dollars was one of the first to truly acknowledge the violent shift in American during the 1960s. Leone presented a west that would run John Wayne out of the town the film took place in and gave us a hero with distorted morals. The film was made in 1964 but was released in America in 1967, right smack dab in the middle of an angry America that was facing an unpopular war in Vietnam, the Civil Rights Movement, riots, protests, assassinations, the rising counterculture, and more. While I agree that Peckinpah’s film has a lot on its mind, I don’t believe that he was the first one to use the western to mirror the times and make a statement about the evolution of America. For a film genre that was American made, one where the good guys always prevail and the bad guys always loose, Leone was among the first to rip those black and white ethics to shreds, magnify our underlying violence, and in the process, created a classic film that is just as nasty today as it was back then.
A Fistful of Dollars is now available on Blu-ray.
by Steve Habrat
For those who are not familiar with spaghetti westerns, a movement within the western genre during the mid 1960s, The Great Silence may not be your best introduction to the subgenre. You are probably wondering, what is a spaghetti western? A spaghetti western is an Italian made western that is usually set in a rundown frontier town and features ugly, weather worn characters. Among these characters is usually a protagonist who walks a fine line between good and bad and an antagonist who is usually beyond loathsome. And usually everyone is really, really sweaty and the violence is really, really gruesome. The best-known spaghetti westerns are Sergio Leone’s Dollars Trilogy (A Fistful of Dollars, For a Few Dollars More, and The Good, The Bad, and The Ugly) and Leone’s Once Upon a Time in the West. If I were a novice to the genre, I would begin with the four films I have just listed and if you feel the genre is for you, then immediately see The Great Silence, a spaghetti western that embraces every single attribute I listed above and replaces the sweaty, dusty setting with a snowy backdrop. This film is just as uncompromising as the environment it takes place in and, boy, is it violent.
The Great Silence follows a mute gunslinger known as Silence (Played by Jean-Louis Trintignant) on a quest to find the bounty hunters responsible for the slaying of his family and taking away his speech. Silence kills off his targets by picking fights with them and then shoots them in self-defense. He wanders into the town of Snowhill, Utah, set high in the snowy mountains and in the clutches of a brutal blizzard. The craggy, snow-caked hills are a safe haven for poor and starving refuges that the merciless bounty hunter Loco (Played Klaus Kinski) and his bloodthirsty gang have been hired to drive out. The rough weather has caused the refuges to become outlaws themselves in order to keep themselves alive. After Loco kills an African American outlaw, his wife Pauline (Played by Vonetta McGee) hires Silence to kill Loco, setting into motion a bleak and nasty showdown.
Director Sergio Corbucci frames several unforgettable moments throughout The Great Silence. One scene finds Loco dragging an outlaw through the snow while he interrogates him. The opening sequence finds Silence shooting off the thumbs of one gunfighter, making sure he can never pick up a weapon again. There is a saloon scene where a repulsive gunslinger gnawing at a greasy piece of chicken makes the mistake of picking a fight with the glaring Silence. But the reason the film gained notoriety is the climatic gun battle, which is horrific, tense, bleak, and unforgettable. Some countries were upset over the dark ending of the film and demanding Corbucci shoot an alternative ending that was much more optimistic. I prefer the grim end–the way Corbucci intended the film to be seen, as the Wild West wasn’t always a forgiving place where heroes triumphed in the face of evil.
The Great Silence also features a jangly, lingering score by spaghetti western composer Ennio Morricone, who seems to have scored every single one of these films (He must have been a busy guy!). Everyone on the face of this earth is familiar with his score for The Good, The Bad, and the Ugly (That famous whistle?). It has been said that the spaghetti western is supposed to be the rock-n-roll version of the American western and Morricone’s music was meant to exemplify that statement. With The Great Silence, the score is a bit less scruffy and more romanticized, even when paired with the soft and epic long shots of snow-covered mountaintops. The Great Silence isn’t just a party for the boys, as it features (surprisingly!) a romance between the strong Silence type and wounded Pauline. Even the new firm sheriff of Snowhill, Burnett (Played by Frank Wolff, who also shows up in Once Upon a Time in the West, another surprisingly romantic spaghetti western) seems like more of a character who stepped out of a John Wayne western than a world full of grotesque money hungry murderers.
The Great Silence doesn’t go soft on the viewer. Oh no, just get a load of Kinski’s Loco, a breathy bounty hunter who likes to play with his prey before he puts it down. He buries bodies in the snow and then returns later to claim them (No respect for the dead), hides weapons all over town, and will gun down anyone without batting an eye. He is the personification of evil and a true spaghetti western antagonist. Kinski, who was a sensational actor, enjoys going bad in this one and who can blame him. He’s a self-centered character out to only benefit himself and certainly not the residents of Snowhill. Kinski was always so good at adding multifarious emotions to his villainous turns (See Nosferatu the Vampyre to see what he does with Dracula) and Loco is no different. I got the sense that if and when he laid waste to the refuges in the hills, it would not be for the sake of law and order and the only emotion he would feel is desperation, desperation to find more outlaws with a big price tag attached to their head.
It is a shame that the DVD print of The Great Silence isn’t better than it is. It seems as if the print of the film wasn’t properly cared for, as some shots are hazy, sometimes scratchy, and crude. Yet The Great Silence provides haunting entertainment for those who wish to subject themselves to the climax (You’ll feel this one, folks) and is just as grim as the era it was released in (1968, for those interested). The drastic change in location also makes for a western of a completely different breed, making it all the more memorable and distinct. Even the gunslingers have a more flamboyant feel to them and are not simply the tough-as-nails type. If you are a person who enjoys the romanticized west, you may want to skip this one. I recommended this film to a family friend who loves westerns and he reported back with a negative reaction to the film. If you enjoy spending time with some truly revolting and morally corrupt individuals, you’ll want to head to Snowhill immediately.
The Great Silence is now available on DVD.
by Steve Habrat
Of all the shock films, exploitation movies that bathe in depravity, and hardcore cinema I have seen in my life, no film has been as extreme as Ruggero Deodato’s 1980 Italian shocker Cannibal Holocaust. It is, in many respects, the best exploitation film I have ever seen because it is the one that goes all the way. In school, many people talked about Faces of Death, a staged exploitation film that supposedly features footage of real death scenes clipped together. Clearly, no one had ever heard of Cannibal Holocaust. This film features it all from authentic animal slayings, some of the most graphic sex scenes I have seen in a motion picture, rape, castration with a barely visible cut in the film, gruesome dismemberment, cannibalism, intimidation, and decadence. What is most shocking is the display of tainted ethics from the individuals who should be the cultured. Instead, the civilized are the savage monsters, the ones looking to draw blood, destroy, and exploit. I will warn you that after you watch Cannibal Holocaust, you will not ever be the same.
A film you will never find just tossed on the shelf of your local Best Buy or Barnes & Noble, Cannibal Holocaust is not exactly the easiest film to see, but it is out there and you can find it, but be prepared to do a little digging. I saw the film a couple of years ago on DVD and I never shook seeing it. I was disgusted by the real footage of animal killings, done in such cruelty it almost made me loose my lunch. When I stumbled upon the film on DVD and out on the shelf for purchase at FYE, I happily shelled out the money to own what is one of the most notorious films in the history of cinema. When the clerk saw what I was buying, she looked at me in disbelief and asked, “Are you sure you want this?”
“Yes”, I replied taken aback.
“Have you ever seen it?” She flipped it over and examined the back. Her face was contorted in repulsion at the fact she was touching it.
“Yes, I saw it a few years ago and I’ve never forgotten it. I collect films like this and it is a must own for my collection. I am a huge fan of grind house cinema, gore flicks, and hardcore exploitation movies.”
“You have an iron stomach and a strange hobby!”
I am very proud of my copy of Cannibal Holocaust. Call me sick, twisted, in need of a shrink, whatever you want, but it is one of my most prized DVDs I own and I will NEVER loan it out. I don’t want the awesome insert that folds out into a print of the original Italian poster to be ripped, torn, or desecrated. I don’t want either of the two discs in the set to be scratched, ruined, or exposed to dust. I don’t want the awesome slipcover that declares it is the “The Most Controversial Movie Ever Made” dinged up in any way. My copy of this horrific film is pristine. Truth is, there is actually one documentary I saw that topples Cannibal Holocaust called Death Scenes, a newsreel of real death footage spanning from World War II to the early 90s. Death Scenes should never be sold to the open public due to some of the footage included in it. That was a film I almost turned off, especially when the film showed us (with haunting sound) a horrific car wreck from the 1950s, the body horribly mutilated as what I am assuming is a surviving passenger or perhaps family member (?) screams and cries as the body is pulled from the twisted fist of steel. Be comforted that there is one film out there that can out shock Cannibal Holocaust.
Cannibal Holocaust follows a group of documentary filmmakers as they set out to film indigenous tribes in the Amazon Basin. These tribes, it turns out, happen to be cannibals. The documentary crew consists of Alan Yates (Played by Carl Gabriel Yorke), Faye Daniels (Played by Francesca Ciardi), Jack Anders (Played by Perry Pirkanen), and Mark Tomasco (Played by Luca Barbareschi). After no word from the crew, New York University anthropologist Harold Monroe (Played by Robert Kerman) sets out to find and rescue the crew. All that he returns with is their film canisters, which the media is anxiously waiting to air. After a screening of the footage, the film depicts horrors that no one could have imagined.
The film’s unblinking and alarmingly real violence caused quite a stir throughout the world when Cannibal Holocaust began its theatrical run. The film premiered in Milan and shortly after its debut, the courts seized copies of the film and had Deodato arrested for murder. He avoided a life sentence by presenting his actors in court and proving his innocence. The film has been banned in multiple countries since its release, further adding to the hype around it. Yet Deodato has not made a brainless ode to gore. No, he has offered up a critique on the violence lurking in what appears to be the most civilized of human beings. It also attacks the media for their relentless hunger to slap violence on television and make a spectacle out of it. The film also acts as a found footage film, one of the first films to inspire copies like The Blair Witch Project, Paranormal Activity, and more. The way the cameraman refuses to put down his camera and help his crewmembers being pulled apart right in front of him is so authentic, it will scare the ever-living hell right out of you. It has been said that Deodato was inspired to make the film one day while his son watched the news and he noticed the way the journalists focused on violence and carnage.
The film also equates sex with violence, suggesting that we get sexual pleasure out of the violence. One graphic scene finds two of the crew members having sex on the ashes of a burned hut, which the crewmembers are responsible for. This is a sequence in motion picture history that I personally was never able to quite shake from my brain. It made me sick, squirm while seeing it, and actually cover my eyes. The worst part is the crew makes the tribe watch as they act out this vile display. The film also wields a bizarre hypnotic effect on the viewer, partly from some dreamlike camerawork and the swirling synths that compose the memorable soundtrack. Credit should be given to Deodato who pushes the boundaries of repulsive imagery while keeping your eyes on the screen. You will want to look away but you won’t be able to. It has been said that spaghetti western director Sergio Leone sent Deodato a letter praising the realism of the film.
While I hail Cannibal Holocaust to be a rhythmic film that still resonates to this day, this is not a film for everyone. Know your limits, your sensitivity, and understand that this film should not be approached as just another ordinary horror film. It is the furthest thing from ordinary or simple. It never pulls a punch and I laud it for never even batting an eye at what it chooses to show you. If animal cruelty upsets you (I have a dog of my own and I have to say some of the violence towards animals really upset me.), stay far, far away from Cannibal Holocaust. Ranking as the second most upsetting film I have ever laid eyes on and chosen to subject myself to, I have to say it wins as a classic among exploitation pictures. The special effects crew has pulled off a mesmerizing bit of trickery with the violence, sometimes lacking no cut whatsoever. One of my film professors once told me, “If the film sparks any kind of intellectual conversation or debate, the film is not a bad one.” This statement stuck with me as I watched this film. Cannibal Holocaust should and does spark discussion, debate, and lures out emotions you never thought a motion picture would make you tackle.
Grade: A- (Be aware that just because I gave this an A-, you should still approach with extreme caution)