La resa dei conti (1966) Reviews

• Excellent Spaghetti Western with a rousing score.

  jools B2001-07-03

  What I liked about this film was an intriguing storyline, superb music by Ennio Morricone and Lee Van Cleef. The action scenes are almost on a par with Leone's films and Van Cleef is top-notch (more convincing as a 'good guy'). After watching my tape of this film, I found out that it was a (badly-cut-by-Columbia) 84 min version. This would explain some confusing sections of the dialogue/narrative. I'm told that the fuller versions (there is one of 114 min) are superior. Let's hope this film gets a decent treatment on DVD (hello Sony-Columbia) - it certainly deserves it more than most.

• Great Lee Van Cleef non-Leone Western

  FilmFlaneur2001-04-22

  **SPOILERS**If you thought Lee Van Cleef all but disappeared after playing a final, memorable, role in ‘The Good The Bad and The Ugly' in 1966, then this film will come as a pleasurable surprise. ‘The Big Gundown' was actually the first Van Cleef Western after that masterpiece. In contrast to Eastwood, who made no more Italian Westerns but returned home to a starry Hollywood career, Van Cleef stayed on in Europe. While the relatively short-lived (1963 – c1969) spaghetti boom lasted, he made a few more relatively neglected films as a solo star in his own right – the best of which, like Sollima's, deserve to be much better known. In contrast to Leone's amoral universe, director Sollima was interested in creating a more committed, radicalised cinema, with much less regard for Western formula. Compared to his two other contributions to the genre (‘Face to Face' (1967) and‘Run, Man, Run' (1968), none of which feature Cleef), this film is the most immediately approachable to viewers previously used to Leone's work. Having said that, it still comes as a bit of surprise to experience the sense of anger and political awareness communicated through Sollima's co-written screenplay. Leone's Man With No Name is just after gold, usually without real loyalty to any cause or clan. In contrast, Sollima's heroes regularly engage with society more fruitfully, and are obliged take a view on social justice. In this film for instance, Cleef's character is brought face to face with political expediency, economic exploitation and social prejudice. Cleef plays Jonathan Corbett, a bounty hunter offered a political office by the railroad baron Brokston - if he successfully hunts down the Mexican child murderer Cuchillo. At the beginning of the film, before taking this job, Cleef is ‘neutral' in the Leone sense: he shoots down three outlaws who are gunning for him and (presumably) claims the reward. If this was a scene from one of the ‘Dollars' trilogy, the actions of a bounty hunter would be their own justification. But now Sollima takes Corbett a stage forward, gradually making him conscious of the unjust society in which he moves and preys. The uncomplicated killing at the beginning of the film turns into a far more complicated, and significant, showdown by the end. Corbett doggedly pursues Cuchillo in turn through several layers of society: a peasant village, a Mormon camp, a petit-bourgeoise owned ranch, and then into a revolutionary Mexico. Gradually he begins to understand the way his opponent thinks, and eventually they both end up sharing a prison cell together. Cuchillo then explains that his political past has made him a victim of Brokston's hatred, and that the child sex murder case has been trumped up against him. SPOILER Corbett's gradual persuasion of Cuchillo's innocence, his ‘education' in reality is, of course, the pivotal event in the film. Eventually Brokston and his sharp-shooting German bodyguard (a figure incidentally full of old-world arrogance and imperialism), his son-in-law Chet (who it turns out is the real killer), and some trackers, all combine with Corbett to finally hunt down the fugitive. This last chase starts tearing through a cane field - one of the most memorable climaxes in all Spaghetti Westerns, comparable to the ‘ecstasy of gold' sequence in ‘The Good The Bad and The Ugly'. To Morricone's frantic music, Cuchillo is now pursued by men on foot and horseback, hounded like a wild animal, through the unharvested crop, then out onto the rocky hills where men (and motives)are exposed. In Sollima's film, this last, desperate, run becomes symbolic of a wider system and oppression, rather than just lawmen-after-badman. At one point, while his oppressors comb the landscape, the Mexican fugitive curls himself foetal-like in a crevice of rock - an apt posture if his personal misfortunes are actually the birth of something greater. At the end of the film Corbett's aid tips the scales and, to the stirring title music, the two ride off as comrades before separating, one North and one South. In these final few scenes, as they ride victoriously side by side then part, there is a strong sense of the two ‘carrying the word' onwards - a feeling entirely in line with Sollima's philosophy. Sollima's somewhat elliptic and aggressive editing style adds to the disorientation and anger that this film is meant to convey. For instance, in the ranch episode, we barely see Cuchillo's theft, much less his discovery and exposure. Instead, there is a jump cut (rare in Spaghetti Westerns) to the punishment he is about to undergo, and the appearance of his persecutor. In this fashion Sollima elides any sense, or representation of, ‘justice'. Its absence is mutely condemned. Of course, there is much more to enjoy here besides Sollima's radicalism. The earlier stages of Cuchillo's flight (like the child-bride incident at the Mormon camp) are necessarily episodic, but starkly memorable. Shot in ‘scope, the film revels in the sort of dusty, widescreen composition so typical of the best Spaghetti Westerns at this time. Cleef is on top form, hardbitten, with a core of humanity. But perhaps Sollima's greatest achievement in this film is to introduce a polemic into a frontier drama, without alienating its characteristically conservative audience. It certainly still holds up well today.

• a truly great epic spaghetti western

  spider891192006-03-30

  This film is often referred to as "the best non-Leone spaghetti western." That may very well be true. For me, it's difficult to decide because there are a couple of others that I like about as much as this one. This movie is brilliant. It has everything that makes the spaghetti western such a great film genre. The music score is a masterpiece. It is one of Morricone's best. The title song sends shivers up my spine. I love the voice, the melody, and the lyrics. It is absolutely unforgettable. The melody of the theme song keeps on recurring, but in totally different ways, each one unique and wonderful, sometimes haunting, sometimes playful, and sometimes serious. There are parts where the music is choreographed with the action on the screen in a way very reminiscent of the Leone westerns. Cuchillo's run through the cane fields is driven by the corresponding music, making the music and the action inseparable. The musical accompaniments to the gunfights near the end of the film are operatic, suspenseful, and appropriately grandiose. This score is not background music. It is a dominating force in this movie, and could even be considered the most important part of the film. Ennio Morricone may very well be the biggest "star" of the spaghetti western genre, even though he never physically appeared in a single one of the films! Director Sergio Sollima uses politics and social commentary not only to get a message across, but also to make us relate to and sympathize with some of the characters, and to despise some of the others. He also throws in some great strange, eccentric, and over the top characters (no spaghetti western is complete without em). You just gotta love the lady ranch owner and her lovesick ranch hands, and the nazi-like Baron Von Schulenberg with his monocle and Dracula cape. That baron really gets on Lee Van Cleef's nerves, and Van Cleef has a couple of great smart-ass remarks for him. This is classic stuff all the way. Lee Van Cleef is perfect for the role of Corbett. This is classic Van Cleef, playing the cool, confident, unflinching bounty hunter type. Sollima definitely picked the best possible actor for the role. The same can be said for his choice of Tomas Milian for the role of Cuchillo. Milian plays the part of a man that is being hunted like an animal. He sometimes has to act and think like an animal would to stay one step ahead of his predators. Milian conveys this very well. I can't imagine anyone else in this role. See this movie! And if you are a spaghetti western fan, you need to have it, so find it and add it to your collection!

• Very good S.W. about a relentless and exciting manhunt set against spectacular scenery of Almeria

  ma-cortes2010-06-27

  This is the original installment from Cuchillo trilogy and again an awesome Tomas Milian . This is the first part from Sergio Sollima trilogy, starred by Tomas Milian, as the roguish Cuchillo and formed by ¨Face to face¨ with Gian Maria Volonte and ¨Run Cuchillo run ¨ with Donald O'Brien and this one . It deals with Jonathan Corbett , a real personage well played by Lee Van Cleef , who pursues a Mexican accused of rape and murder . The solitary , self-reliant Corbett tracks down Cuchillo who is wrongly accused of killing . The relentless chase is set against strong environment, risked mountains and hazardous trails. Later on , the dangerous pursuit includes a numerous posse formed by Walter Barnes, Angel Del Pozo , Gerard Herter , among others . Now as absolute starring Tomas Milian named Cuchillo and supported by Lee Van Cleef as obstinate pursuer . It will be a long and dangerous pursuit with continuous getaways . It's set during early Mexican revolution with Benito Juarez ruling . The Cuban Thomas Milian, as usual, puts faces, grimaces, crying and overacting, but plays splendidly. This Zapata-Western is superior than subsequent entries because it displays stirring adventures, shootouts, riding pursuits and is pretty amusing. It's an exciting SW with breathtaking showdown between the protagonists Lee Van Cleef , Tomas Milian and the enemies as Walter Barnes and his hoodlums as Angel Del Pozo and the German officer Gerard Herter . Tomas Milian is very fine, he ravages the screen, he jumps, bounds and leaps, hit and run , besides receives violent punches, kicks and wounds . Gerard Herter as a cruelly baddie role as Prussian baron with monocle is terrific , subsequently the would play similar role in other Spaghettis . Furthermore, appears usual secondaries of Italian/Spanish Western as the femme fatal Nieves Navarro or Susan Scott as a black widow , in addition Robert Camardiel ,Lorenzo Robledo, Luis Barboo , Fernando Bilbao, Barta Barry , Frank Braña and of course Fernando Sancho in his ordinary role as Mexican . The film blends violence, blood, tension, high body-count and it's fast moving and quite entertaining. There is plenty of action in the movie , guaranteeing a shootout or stunt every few minutes. There are many fine technicians and nice assistant direction and excellent production design by Carlo Simi , Sergio Leone's usual , he creates a magnificent scenario with barren outdoors, dirty landscapes under a glimmer sun and a fine set on the final scenes . As always , the musician Ennio Morricone, composes a nice Spaghetti soundtrack and well conducted ; it's full of guttural sounds and emotive score . Interior filmed at Elios Studios and outdoor sequences filmed at Tabernas , Cinecitta Studios , Rome and of course Almeria, Spain. Sergio Sollima's direction is well crafted, here he's less cynical and humorous and more inclined toward violence and too much action. Colorful and evocative cinematography by Carlo Carlini , reflecting marvelously the habitual Almeria outdoors . The picture is well directed by Sollima who would be his last Western and following directing success such as Pirate films as ¨ Sandokan ¨ and the ¨ Black Corsario ¨ . Rating : Better tan average Western . Essential and indispensable watching .

• Fantastic Italian Western!

  Witchfinder-General-6662006-08-07

  As a big fan of Spaghetti Westerns, two of my all-time favorite directors are Sergio Leone and Sergio Corbucci. Out of all Spaghetti Westerns directed by neither Leone, nor Corbucci, Segio Sollima's "La Resa Dei Conti" aka. "The Big Gundown" is my personal favorite, and doubtlessly one of the greatest films the genre has ever brought forth. An exciting and extremely stylish film with brilliantly drawn characters, "The Big Gundown" is a masterly Spaghetti Western with a political message. Jonathan Corbett (Lee Van Cleef), a famous gunman and bounty hunter, is sent to hunt down a Mexican small-time crook named Cuchillo Sanchez (Tomas Milian), who is accused of the rape and murder of a 12-year-old girl. Corbett is an experienced and successful lawman, but Cuchillo is very clever too. On the his long hunt Corbett gets to know Cuchillo, whose guilt he finds more and more doubtful. Although this is a very serious Spaghetti Western in most of its parts, there are some very funny characters, like the almost cartoonish aristocratic Austrian gunman Baron Von Schulenberg (Gérard Herter), a cold-blooded but extremely arrogant and almost Nazi-ish killer wearing a monocle and always looking neat as a pin. Sergio Sollima's directing is truly outstanding. The acting is also great, especially the brilliant performances of Tomas Milian and Lee Van Cleef, two of my personal favorite actors. The score by Ennio Morricone is one of a kind, outstanding, even compared to most of the other Morricone soundtracks. In one ingenious part of the movie, for example, Morricone mixes Ludwig Van Beethoven's "Für Elise" with a Mexican guitar and his typical dynamic Spaghetti Western drums. The cinematography and settings are overwhelming in a manner that is en par with Leone. In short: "The Big Gundown" is a formidable gem that even Leone would be proud of, and an Italian Western highlight that no lover of the genre could possibly afford to miss! 10/10