Gringo salvaje

This review is of the pan-and-scan AIP-TV version of this film, called SAVAGE GRINGO. I taped it off TV about 20 years ago. I liked it then, and I like it now just having re-watched it. The few references to this film I've seen note that Mario Bava took over the direction from Antonio Roman, who is solely credited on the copy I have of this film, and then fault the film because it has few if any distinctively Bava touches in it. If you are looking for an Italian western that is to the genre what HERCULES IN THE HAUNTED WORLD is to sword-and-sandal films, look elsewhere, as you won't get it here. With so many Italian westerns having so many odd cinematic techniques used in them, SAVAGE GRINGO is actually quite conventional. Perhaps Bava simply just did a professional job on this and did NOT see it as an auteur piece on which he would put his personal stamp or with which he would make some statement about life and art. He had already worked with Ken Clark previously in ROAD TO FORT ALAMO/ ARIZONA BILL (a film which DID have a number of Bava touches to it)--perhaps that was one reason he was asked to complete this film? In any event, Clark is fantastic in this role. He is tall and athletic and one of the better American actors to work in the spaghetti western genre--it's a shame he only made two. His character NEBRASKA is fascinating although enigmatic, and creates a warmth and passion in the role. He's also VERY quick with a gun and it's exciting to see him come out of the woodwork in the blink of an eye and blow someone away. Personally, I don't have a problem with his motivations never being clearly stated--isn't that a little bit like real life? While we have a feeling that Nebraska will win in the end, we don't really know HOW he will get to that point or what barriers he will face along the way, so I don't see that as causing any lack of suspense. The suspense is caused by wondering how the situation got to the point it did--who exactly is Kay? Why does she point out that she's not married to Marty, and if not, what exactly is going on here? How did this Bill Carter get to be running things? What's Nebraska's perspective on this? In a way, the film plays against our expectations of what we expect from other films. Judged solely as a spaghetti western, NOT as a Mario Bava film, I've got to give this an above average rating. It's not wildly original, but like an old genre western with Johnny Mack Brown or Charles Starrett (we always know the ending of one of their films in advance, don't we?), it moves quickly, has a lot of fistfights and gunplay, and has the right attitude. And Ken Clark is superb in a rare Western appearance. I have a French language version of the previous Bava-Clark western, Arizona Bill. I'll have to watch it again now (got it 10+ years ago) after seeing this one, and I've got the DVD of ROY COLT... (Bava's 3rd and final western) on order.

Stranger Clark helps a rancher and his beautiful wife (Bastien) against a ruthless bunch of cowboys. Cardboard western with little action and suspense and a leisurely paced plot. Still not that bad. Legendary Mario Bava's direction is utterly conventional (he replaced film's original director Antonio Román), he obviously made this without much ambition. Score by Nino Oliviero dominates this tame spaghetti western. Román was credited with the direction for more than twenty years until Bava's involvement was made known. Still, some believe this to be Bava's best western (his ROY COLT wasn't much better anyway).

Three men on horseback, wearing handkerchiefs over their mouths, ambush and murder a range rider working for cattleman Martin (Piero Lulli). Martin is the target of an unscrupulous businessman and crook who runs a nearby town. Martin gets a break when Nebraska (Ken Clark), a loner who can shoot pretty well, shows up looking for work. Martin's wife, Kay (Yvonne Bastien) has needs, too, and eventually wants Nebraska for herself. When Martin is killed, the bad guys focus on Kay and pressure her to sell the ranch. Nebraska intervenes and saves the day.

The Nebraska character is so virtuous and multi-talented, once he shows up the movie gives up any suspense it had. Nebraska will obviously win out. He plays chess, is a superior tracker, an excellent marksman, rides a white horse, and falls for the girl. At first, he wants to stick around to help Martin and Kay, "to see how it ends." At the end, he won't commit to Kay and rides off.

It would appear that in some provinces, SAVAGE GRINGO was passed off as a continuation of the popular RINGO film series. The movie is competently made but doesn't add anything new to the genre. Though suspense specialist Mario Bava was involved, there are no real surprises. The film's one highlight is a violent barroom brawl photographed mostly at ankle level.

A laconic drifter, Ken Clark , arrives in a ranch and helps a troublesome couple , Kay : Yvonne Bastian, and rancher Marty : Alfonso Rojas who mistreats her, against a nasty landowner called Carter : Piero Lulli and his hoodlums : Howard or Red Ross , José Canalejas. While Carson sets his eyes on Kay , but this one has a crush on the mysterious drifter . The Wild West ..where desperados slept by Day.. struck by night...

Decent Tortilla , Pasta Western with action , thrills , brawls , shootouts , twists, and turns . Stars Brad Harris who gives a good acting as the drifter who takes justice on their hands . The film is well paced with continuous action , intrigue , gun-play and surpising final twists . Nice and brave starring , the American Brad Harris who similar to Steve Reeves , Gordon Scott , Reg Park, Rock Stevens emigrated to Italy to play Sword and Sandal or Peplum movies , as Brad getting a certain popularity by performing Spaghetti Westerns and Euro-Soy sub-genre . Being a Spain/Italy coproduction here shows up regular genre actors as Spanish : José Canalejas , Alfonso Rojas , Frank Braña, Alfonso de la Vega , Simon Arriaga, Francisco Sanz , Angel Ortiz , as Italian : Piero Lulli , John Bartha , Red Ross , among others .

Special mention for the catching musical score by Nino Oliveiro with enjoyable Spaghetti sounds and attractive songs at the beginning and the end . As well as evocative cinematography by Mancori and uncredited Bava , including usual exteriors from La Pedriza , Colmenar Viejo, Manzanares Del Real, Madrid, but no Almeria .The picture was professionally directed by Antonio Roman , assisted by uncredited Mario Bava who made a lot of scenes . Out of respect for Roman , Bava refused to accept credit on the movie .Antonio Roman was an uneven Spanish filmmakerand sucessful , at times as Los Últimos de Filipinas , his real big hit . He wrote several films, directed a few documentaries and went on to become one of the managers of Cooperativa Cinematográfica Castilla . His film debut was a documentary : La Ciudad Encantada . Later on, his first full length Escuadrilla 1941 , it was made in collaboration to Raza's José Luis Saenz de Heredia. After that, he directed various dated historical dramas and prestigious adaptations based on known novels such as Lola Montes , Lope de Vega's Fuenteovejuna , La Fierecilla Domada , Madrugada , Clarines Del Miedo . Moreover, several dramas as Pacto de Silencio with Yvonne Bastian, La Vida Encadenada , and Intrigue . And he also made some Folkloric movies . Soon after , he went on writing critics and directing pictures throughout the 60s and 70s , although his output slowed . In 1966 he was allegedly fired by the producer Fulvio Lucisano from the set of Ringo of Nebraska , after having shot partially the movie , that's why the financer did not love his slow-moving style . He was replaced by his friend Mario Bava , in fact Antonio Roman wrote the notorious Sci-Fi movie directed by Bava : Planet of the Vampires .

I managed to acquire this rare Spaghetti Western just in time for my ongoing Bava retrospective: in fact, I opted to start with it since this was one of only three titles I had never watched before. I wish I had the time to read through Tim Lucas' chapter on the film in his long-in-coming (and, thus, appropriately massive) Bava biography – especially given his uncredited contribution here when, reportedly, he actually replaced Roman quite early into shooting! Anyway, this is one of four Spaghetti Westerns made by this cult figure and, having now checked out all of them, I can safely say it is the most satisfying (if still far from a key work for either director or genre); obviously, while Bava tried his hand at most any type of film within the "Euro-Cult" stable, he was clearly at his most comfortable (or, if you like, inspired) when handling fantasy/horror/thriller elements! Apart from the trademark inventive camera-work, one thing which alerts one to Bava's involvement is the presence of both hero and villain: one is the star of his previous Spaghetti Western entry, THE ROAD TO FORT ALAMO (1964; which was pretty decent in itself), i.e. brawny Ken Clark (hence, the U.S. moniker for this is more than a bit misleading!) and the other, Piero Lulli, would play a major role in one of the director's best films – KILL, BABY…KILL! (1966). Though usually one of the main assets, the score for this one is no great shakes – nor is there a particular emphasis on violence (nevertheless, the action set-pieces are above-par for the course); what we do get is a reasonably engaging (if thoroughly unsurprising, even in making the heroine out to be something of a conniver) plot which keeps moving, thus allowing one little time to ponder on its potential shortcomings!