Hügel der blutigen Stiefel

Terence Hill & Bud Spencer early pairing. Low budget western with a lot of stars in it. Not the usual by any means.. western-wise or hill/spencer-wise.. 3 years before Trinity, Hill portrays a character named Cat Stevens ( A name that was also his characters in both Dio perdona... Io no! & I Quattro dell'Ave Maria). It can be dull at times but it's a good movie given the chance. I originally wrote a more negative review of this film and after watching it a few more times since I have edited it to lean on the more positive side. Worth checking out & it is made on DVD now. Although the transfer is cassette quality. It does give the film that nostalgic quality & makes the dirt floors & dirty faces look even more filthy.

Third and rarest pairing of Terence Hill and Bud Spencer after God Forgives... I Don't (1966) and Ace High (1967), both by director Colizzi, before the Trinity films turned them into Italy's most dubious exports of the Seventies. Hill was given these cold-eyed roles before the more familiar slaparound antics; here he plays a grimy cheroot-huffin' hombre called `Trouble', who enlists a traveling circus (led by Woody Strode and Lionel Stander) to defeat a money-grubbing land baron (Batman's King Tut, Victor Buono). Like all good Spaghetti Westerns, Boot Hill combines claustrophobic visuals and a lumpen left wing philosophy, with the added novelty of the circus backdrop. Bud's almost a supporting player, but thankfully the dumb ox still gets to throw his weight around. Recommended, muchachos.

I have seen alot of Terence Hill and Bud Spencer movies and this is one of the first I ever saw and i have to say, it sucks! It's just awful. The plot is about a guy named Cat Stevens ( Terence Hill ) who was shot buy some bandits and a circus trupe helps him recover. Cat Stevens needs to get revenge and avenge the death of a circus performer who helped him recover. he asks his old buddy Hutch Bessy (Bud Spencer) to help him. This movie may sound good, but believe me, its not!!!!!! I suggest you see either They Call me Trinity , Trinity is STILL my name , My name is Nobody , Crime Busters or Watch Out...Were mad!

This Spaghetti Western oater starts when Cat Stevens (Terence Hill or Mario Girotti) trying to save himself from a pursuit by nasties . He's picked up and healed by a circus troupe (Lionel Stander , Woody Strode, among others). Later on , Stevens reunites with Hutch (Bud Spencer o Carlo Perdesoli) , joining forces and confronting baddies . The villain is Honey Fisher (Victor Buono) , a powerful magnate in a small town and supported by heinous henchmen . A government commissioner (Eduardo Ciannelli) comes to little town and the ruthless Fisher is worried but he's usually swindling gold prospectors and gaining exorbitant price leases .

The movie contains gunplay , Western action , circus spectacle and fist-fights . Terence Hill as a tough gunslinger and Spencer as a bouncing hunk are good but still not personified the Trinity heroes characters . In the picture appears usual Spaghetti Western secondaries as Lionel Stander , Woody Strode, furthermore, George Eastman (Luigi Montefiori) , Alberto DellÁcqua and Romano Puppo . The film belongs to the Giuseppe Colizzi trilogy starred by Hill and Spencer as Cat Stevens and Hutch Bessy . This one is the third and inferior installment , the first and the best is ¨God forgives¨ or ¨Blood river¨ with Frank Wolff and the second is ¨Four gunmen of Ave Maria¨ with the great Elli Wallach . The film was produced by Manolo Bolognini , a nice producer of classic Spaghetti (Djanjo , Goodbye Texas , Keoma) and accompanied by an atmospheric musical score by Carlo Rustichelli with an enjoyable leitmotif . The film will appeal to Hill and Spencer hardcore fans .

Boot Hill is such a different film to the popular ‘Trinity' films amongst which it was lumped, presumably by the American distributors keen to attract the same appreciative audience, that it often disappoints those who are expecting more of the same. In fact it stands well as a serious Western in own right, perhaps not at the very front rank of the genre, but an above average Spaghetti outing, both in direction and casting.

Director Colizzi conceived the film as the third in the loose trilogy which features Hill as Cat Stevens (the other two films being Dio perdona... Io no!/ God Forgives – I Don't! (1968) and I Quattro dell'Ave Maria, / Revenge at El Paso (1968). In this movie Hill, Spencer, and Stander are all excellent with none of the jokey humour which made the official Trinity films so distinctive and, for this viewer anyway, a little forced. Strode is outstanding and makes one wish that Hollywood had made more of his talents as muscular leading man. Too often one associates him with his mute, opening appearance in Once Upon a Time in the West, or in Ford's stagey Sargeant Rutledge, and forgets how easily he can carry the action for more than one scene. His later encounter with Stevens, while Hill hides out (‘I don't like to thank a man too many times') is one of the best scenes in the film. Although race is not an issue in the film, the American trailer makes play in that ‘two colours' are fighting against one threat, and the austere pairing of Hill and Strode – noticeably seen in single shot at the climax of the film – is electrifying.

The biggest weakness of writer-director Colizzi's film lays in the middle section, when the chronology is rather truncated, although even here the growing rapport between Stevens and Thomas is effectively conveyed by way of compensation. One would have appreciated seeing more of the dissolution of the circus, the debilitating effects of the murder of the acrobat on the troupe.. Meanwhile,the late introduction of Hutch (the essential other half to the expected Trinity pairing) gives plenty of time for an on-screen bond to form and, once the new group re-encounter the show, a real sense of mission has been formed. Such difficulties are partly the problem of a script which attempts too readily to combine showbusiness and showdowns in equal measure. The fault lines in Boot Hill are perhaps best described by the music, which ranges from Bullitt-like suspense riffs, through to a sentimental ‘circus' tune to a third, decidedly ‘epic' theme for the friendship of Stevens and his black comrade.

Perhaps the most interesting aspect of Boot Hill is Colizzi's inventive use of cross cutting between circus and gunfight, editing between ring and revolver as it were. The most notable example of this occurs at the beginning, when Stevens is stalked outside of the performance tent. By interweaving the dangers of the high wire with more immediate dangers faced outside, Collizi achieves a timing and balance which, in a sense, is as impressive as those inside the big top. Life - at least as shown in Boot Hill – thereby becomes kind of dangerous act of its own, and Colizzi heightens this sense through his shaping of his visual materials. Some critics have compared the acts in Boot Hill to the kind of medieval pageant served up for warlords centuries ago – especially when the troupe perform in front of head villain Honey (a surprisingly underwritten part for Victor Buono); I prefer to see it as a heightening of the tension inheirent in Western action, a different play on the skilful rituals involved.

Interesting comparisons might be made between this film and others where circus play intrudes into otherwise conservative genres (Vampire Circus springs to mind as a similar example) creating an interesting hybrid. Cukor's Heller in Pink Tights – highly rated by French Critics, less well liked at home - would make an interesting double bill with Colizzi's production, which is in need of some reassessment.