Winnetou - 2. Teil

There are many films surrounding Winnetou (and Old Shatterhand), but this is th second movie of a trilogy that I rewatched after many years. And the movies hold up more than well. In this case it also has to do with the casting. Apart from the original actors in the respective roles, we get Klaus Kinski and Terence Hill ... a great addition - and another evil white man, who replaces Mario Adorf from the first one.

There may be certain things that age the movie, but the performances and the jokes (not all pc friendly I reckon but with the heart in the right place) really elevate this above other movies from that time frame. Having a native American front and center and being a good guy with morals, be friends with a white guy ... well that is a nice thing. While the cast is international, there is no real original audio track ... like the italo western, everyone was talking in their own language and later dubbed. But still you have mainly a german acting group here and a lot of voices I personally recognize from my childhood.

Great message overall - something that was not as front and center in American movies at that time as it should have been.

This is an epic western-adventure-movie. It is highly entertaining and has in fact the potential of being a lot better than it is. Dances with Wolves reminds me a lot of this movie. And with a better script and stronger directing Winnetou II could have been a timeless piece of art like the Costner movie. The yugoslavian landscape seems a bit out of place sometimes, but the movie has a lot of the "Karl May - feeling".

The cast is as cosmopolitan as it can be : German (Dor,the director's wife , Kinski) ,French (Brice) ,English (Steele) ,Italian (Massimo Girotti aka Terence Hill) ,American (Barker), .....

But this is not my favorite Winnetou:Hugo Fregonese did a better job with "old shatterhand "even though the principal's role is reduced to his well-known philosophy ;"old shatterhand " had a better screenplay and a much more effective directing .

There are shades of "broken arrow " in it ,and too many plotholes ; the love of Lieutenant Merrill is a fait accompli; out of the blue ,he decides to marry the beautiful Indian ,and the father and Suzanne (his sister? ) accept it without a moment's hesitation ; this kind of marriage is common in westerns since "broken arrow",but they often meet a bad end (Delmer Daves ' film) or are strongly disapproved by the daddy ("gunman's walk" )

Gallic Pierre Brice is true to himself as the Indian Gandhi ; peace is the key to everything in his philosophy and his words of wisdom always make sense;he's ready to give it all to preserve it,even though he must sacrifice his love for Ribanna ;but ,a bachelor , he will be able to follow his paleface brother in further adventures; the comic relief and his six-dollar-hat are not very funny. Kinski makes up for it as the baddie: but , his count-the-steps trick is far-fetched .

This film essentially starts with Apache chief "Winnetou" (Pierre Brice) riding on horseback to meet a Native American tribal chief of the Assiniboine about joining comprehensive peace talks with America. Along the way, he encounters a young Assiniboine maiden named "Ribanna" (Karin Dor) being attacked by a bear and rushes in to save her. Grateful for his help, she introduces herself and reveals that she is the daughter of the Assiniboine chief. His bravery strengthens his cause, and he convinces the Assiniboine chief to collaborate with several rival Native American tribes to negotiate peace with the American government. Additionally, while he's there, he frees three American soldiers held captive by the Assiniboine, including one named "Lieutenant Robert Merrill" (Terence Hill), who just so happens to be the son of the officer in charge of a nearby Army garrison. However, there is a wealthy oil baron named "Bud Forrester" (Anthony Steel) who has been causing chaos among the Native Americans to claim their lands--and he'll stop at nothing to sabotage all peace efforts. Rather than reveal more, I'll just say that I enjoyed this particular installment of the Winnetou series a bit more than the three films that came before it, especially due to the romantic drama involving Winnetou, Ribanna, and Lieutenant Merrill. Additionally, just like its three predecessors, it also features beautiful scenery and background music. In any case, I enjoyed this film for the most part, and I've rated it accordingly. Slightly above average.

This is only the second of the long-running series of German produced Westerns filmed in Yugoslavia by cult director Harald Reinl that I have been fortunate to see, but is at least as good as TREASURE OF SILVER LAKE if not somewhat more polished of a production. Euro ManBeef matinée idol & former Tarzan star Lex Barker (of Reinl's CASTLE OF THE WALKING DEAD) returns as Karl May's "Old Shatterhand", a white man trained in the ways of the Native American Indian tribes who roams the west with the "noble Apache chief" Winnetou, played by European genre film favorite Pierre Brice (Ferroni's MILL OF THE STONE WOMEN) as the two work tirelessly to bring peace between the white man & the Natives upon who's land their settlements are inevitably encroaching.

This time around the story is a bit more epic in nature, with Winnetou sacrificing his love for the Apache princess Ribanna (future James Bond femme fatale Karin Dor from YOU ONLY LIVE TWICE) to a young Yankee cavalry officer played by future TRINITY film favorite Terence Hill, in a bid for peace between the two factions. Caught between those forces of good -- yes, the Indians are the good guys here, working with the white man -- is a ruthless oil baron played with scathing efficiency by Anthony Steele, with Klaus Kinski heading his band of cuthroat scumbag unwashed sweaty greasy cowboys, hell bent on inciting war between the Yankees and Apaches for their own personal gain.

Quite simply put the cast alone makes this entry in the series a delight, but when coupled with somewhat higher production standards and coupled again with Martin Böttcher iconic, popular music score (which was a top 40 hit for years in Germany) the film attains a kind of sweeping, lofty "larger than life" quality that ranks it amongst the finest Westerns from the early 1960s regardless of the country of origin. The script is never talky, with not one wasted scene or unnecessary discussion, and a decidedly more humanist touch than the treasure hunting escapades from SILVER LAKE.

One of the most fascinating aspects of these films are the Yugoslavian locales used for the filming, which have a unique flavor that sets them apart from both the Italian Spaghetti Westerns filmed in Spain and the more familiar American made productions with their Monument Valley landscapes. And the attention to detail this time out is much more effective, with the Yugoslavian extras playing the Apache tribes coming off as a people rather than just a supporting choir decked out in leatherskins.

That's another aspect that makes these Karl May Westerns somewhat remarkable: They were certainly more advanced and sympathetic in how they depicted the Native Americans than even our own domestic productions of the time ("F TROOP", anyone?) where the Natives are either depicted as pop-up targets for the action sequences or comic relief drunks. You get a real feel for them as a dignified population who are forced to embrace the arrival of the white man with a sense of chagrin, and this story's focus revolves around efforts to undue whatever goodwill might exist between the two civilizations.

They key to the equation is of course Barker's Shatterhand and Brice's Winnetou, each having earned the respect time and again of the otherwise opposing sides. And it's interesting to see the usual cowboy types as the source of the conflict, with the US Cavalry depicted as just going about their job rather than slaughtering the Indians indiscriminately. Try weighing this positive message against the completely negative and one-sided approach used in the dreadful SOLDIER BLUE, which potentially could have told more or less the same story if it's makers had cared about the Natives as anything other but pawns in their social agenda.

If the film has any weaknesses it is the usual aspects of Anglo European types aping Native Americans, some of the on screen treatment of the horses used is questionable, and perhaps certain anachronisms like a 48 star American flag shown flapping heroically in the wind. But the dignity and sheer artiness & atmosphere more than compensate: A special film that deserves some kind of re-release, just as good now as it was in 1964, with nary a mean spirited bone in it's larger than life body. Remarkable, really.

8/10