Drei Vaterunser für vier Halunken

The post above that states that this film was shot in English is only partially correct. Each of the characters spoke their own language, and the script was available in quite a few. How do I know -- I am the deputy who goes up to the stagecoach and gets used as Lee van Cleef's coat rack. Lee and Jess did speak English, but the people in the stagecoach spoke mostly Italian. The bounty hunters spoke a multitude of languages, one even spoke Serbo Croatian. Do not know about the speaking any of the cast after the stage left Gila Bend, that was the only part I saw. I was a young Army Officer in Italy and had the opportunity (along with one of my NCOs -- Bill on the rack with the Gila Bend sign) to play the role of the deputies in the beginning of the film. It was an opportunity I will always remember. Lee was a true gentleman, Jess was a hoot, and Lee's stuntman/double, X Brand (Pahoo in the Series Yancy Derringer) was an extremely nice person. I will always remember being in this great film

The Grand Duel is one of the most under-rated Spaghetti Westerns ever made. Van Cleef returns as the Man in Black and he is at the top of his game. Good action scenes and a great sound track by Luis Enriquez Bacalov under the name Sergio Bardotti. Beware of the cut version under the title Storm Rider.

It could be said that The Grand Dual is merely a vehicle for its lead star, and whoever said it wouldn't necessarily be wrong; but while this film doesn't feature a lot of originality, it's also true that Italian cinema was based on repeating itself, and the film definitely succeeds in providing an enjoyable slice of western action. The script was penned by Giallo supremo Ernesto Gastaldi (The Strange Vice of Mrs Wardh, The Case of the Bloody Iris), and that's not surprising as there are shades of Giallo throughout, and the film works both as both as a violent action flick and an intriguing mystery film. The plot focuses on Sheriff Clayton as he becomes involved in the murder of a man so-called 'The Patriarch' through his association with the sly Philipp Wermeer. The film follows the pair as they make their way through bandits and bounty hunters and eventually end up in Saxon town, where the sons of the Patriarch live. They've fingered Wermeer as the murderer of their father, and naturally want him hanged; but there's a twist to the identity of the murderer.

Lee Van Cleef made his name with Sergio Leone and the masterpiece westerns 'For a Few Dollars More' and, of course, 'The Good, The Bad and The Ugly'. This film is nowhere near the quality of those two, but Van Cleef does well in his 'man in black role', which is a variation on the common western 'loner' theme, which was made famous by the likes of Clint Eastwood and Django. Van Cleef's presence is felt throughout, and he continually makes every scene his own. As you might expect, the rest of the cast don't live up to the central star; but even so, The Grand Dual features a good ensemble cast, and Peter O'Brien does especially well in his central role. The film features a lot of shootouts and chases on horseback, which are always good to see; but at times, The Grand Dual puts too much focus on entertainment value and this can mean that the plot suffers. Even so, the story plays out well; and the final twist is a real standout, as even though it's pretty obvious throughout - Gastaldi manages to throw in a twist just before it, which makes the final twist come as a surprise. Overall, this film isn't one of the great Spaghetti westerns - but it's a good one and comes recommended.

Released in 1972 (1974 in the USA) and directed by Giancarlo Santi, "The Grand Duel" is a Spaghetti Western starring Lee Van Cleef as a grizzled ex-sheriff who helps a framed man (that looks like Barry Gibb from the Bee Gees) confront the politically powerful trio of brothers who want him slain.

This is an okay Euro-oater, but nothing to write home about. Van Cleef is stalwart as the grim hero, of course, and the three sibling villains are interesting, particularly the whacko effeminate one who massacres scores of settlers with a Gatling gun. The titular confrontation of the climax is akin to the gunfight at the O.K. Corral, albeit with one person against three. In the female department, Dominique Darel and Alessandra Cardini are on hand as Elisabeth and Anita respectively, both good-looking in different ways, but their presence is never capitalized on. 'Barry Gibb' is fine as the secondary protagonist. There are some curious over-the-top sequences, like a character catching a bullet with his teeth and someone else being catapulted, which seem incongruous with the generally serious-but-quirky proceedings.

The movie runs 98 minutes and was shot in Uliveto Terme, Vicopisano, Pisa, Tuscany, Italy, and Elios Studios in Rome.

GRADE: C

THE GRAND DUEL is a typical entry in the spagwest genre. With a script by Ernesto Gastaldi, Italy's hardest-working scriptwriter of the period, and direction from Giancarlo Santi, who worked as assistant director on THE GOOD, THE BAD AND THE UGLY, it has brilliant credentials behind it as well as a cast of some of the genre's heaviest hitters. It could have quite easily been a classic and parts of it are – the haunting music and theme that plays repeatedly throughout the movie manages to out-do Morricone and is possibly my favourite spaghetti western score; Tarantino must have liked it too, because he used it in KILL BILL. However, THE GRAND DUEL loses something because of its focus on outrageous comedy and the kind of bumbling antics that Bud Spencer became associated with. If it had stayed deadly serious throughout, I imagine that this would be a much revered film today.

Instead it's merely a quite good western, sometimes very good, sometimes awful. The stunt team is certainly spot on, although I could have done without the see-saw bit at the beginning where a guy is propelled into the air like something out of a cartoon. The action scenes are well handled and the final duel even manages to approach the ending of THE GOOD, THE BAD AND THE UGLY in terms of quality, with superb accompanying music and decent camera-work. Essentially, though, what makes this more than watchable is the leading presence of Lee Van Cleef, appearing exactly the same as he did in FOR A FEW DOLLARS MORE and giving another stern performance with his acting for the most part in his eyes – hands down Van Cleef is my favourite spagwest actor and he hasn't disappointed me yet.

Van Cleef is given some good support, especially from the likes of regular German bad guy Horst Frank and newcomer Peter O'Brien, who only acted in this one film before disappearing off the face of the earth (he looks uncannily like Ray Lovelock in THE LIVING DEAD AT THE MANCHESTER MORGUE). The big and bloated Jess Hahn is also around for comic relief, although he's so badly dubbed that I dreaded him popping up on screen, while Klaus Grunberg has a ball as a homosexual villain and Marc Mazza's bald head steals much of the film. Also present is Dominique Darel, a very attractive leading lady who died at the tender age of 28, six years after this film was released. Italian cinema lost a true beauty with her passing.