Jonathan degli orsi

E.C. is back after a long string of unspectacular flops dating back almost twenty years before the release of this late entry Spaghettio. Franco Nero returns in a sloppy, long-haired guise emulated after his titular Keoma, but the similarities to that masterpiece end right about there unless you want to count the atrocious, narrating vocal musicals that are so self-absorbed and confident in their strangeness, I have to give the makers some ballsy credit. The film comes off as pretentious propaganda, tackling numerous themes unsuccessfully, the most blatant and offensive being racial prejudice and oil production. And naturally, given its release date, when revisionist Westerns were all the rage in Hollywood, we're deprived of proper bloody action and served CBS mini-series drama and cues. I counted only one decent slow-mo Enzo battle and that consisted mainly of dangerous horse stunts not balletic squibs and shooting spray. The bear subplot was a new idea albeit handled with a lacking child performance which somehow finds its way into every dramatic arc for the rest of the feature. The most amusing instant comes during a fight where the participants turn into their younger counterparts! The lil' cub was pretty cute though.

David Hess and John Saxon provide some legitimate villainry. Even Enzo's real-life papa adds a bearded grittiness to his role. On the technical side, this is the most polished work Castellari has done. Gone are the paintball squibs, shoddy camera-work and cheap pyrotechnics, but all this guerrilla charm is a trade off for the stock orchestral music and dramatic fodder. I'll take The Big Racket any day. Hell, Light Blast.

They don't make movies like this anymore as they don't make them in the 90's, cuz when this came out the genre was dead and buried 20 years before. So the fact two giants of spaghetti western, director Castellari and actor Franco Nero, returned for a last Hurrà its enough to forgive and forget the many flaws of the movie. Nostalgic.

The Franco Nero and Enzo Castellari collaboration is best known for Keoma, which is generally (and rightly) accepted to be one of the last great Spaghetti Westerns. Filmed twenty years later, this film - although not particularly well known or lauded - stands up to the high quality set by its predecessor.

Jonathan of the Bears continues on the racism themes noted within Keoma, concentrating on an orphan's relationship with the indians and bear that nurtured him following his parent's execution, and the "greedy" white man that has no respect for the nature or beliefs of the natives.

This film is very touching, dealing with the sensitive issue of the plight of the indians and other minority races, whilst maintaining the exciting shootouts that we expect to see in our spaghetti westerns. In particular, the opening sequence that charts the death of Jonathan's parents, and his development from man to boy - the majority of which is shot in black and white - is very moving.

It is not the easiest of films to find, but I would definitely recommend it (particularly for those people that enjoyed Keoma).

That's Castelari's sequel to Keoma - Violent Breed. Although it's more a wildlife - adventure movie than a western it's quite good !

Director Castellari reteams with star/co-producer Franco Nero in this Italo-Russian production which is a belated follow-up of sorts to their earlier, acclaimed collaboration KEOMA (1976). This newer venture shares with that earlier one not only its Western setting and a similarly grizzled, long-haired hero but also a touch of pretentiousness and a painful song score (composed by the unsympathetic minstrel figure who appears intermittently throughout)!

The film starts well enough with the black and white flashback to the hero's traumatic witnessing as a young boy of his parents' slaying by a trio of greedy badmen after their gold, while the segments featuring the boy's interaction with a playful bear cub are also quite amiable. However, we have seen the "white man among the Redskins" scenario – albeit incongruously played here by Mongols – which follows soon after (complete with their seemingly interminable quasi-mystical passages) far too often for those scenes to propose anything new. Equally predictable are David Hess' villainous overtaking of a town, Nero falling foul of Hess and his henchmen and their various confrontations; interestingly, Hess had to complete his part in a short space of time because he couldn't get along with Nero – with whom he had previously acted in HITCH-HIKE (1977).

Things are enlivened by the late entrance of powerful entrepreneur John Saxon who, with his aged group of gunslingers, wipes the town clean of Hess and their unaccountably campy rivals – a group of stud-sporting, leather-wearing, bare-chested musclemen!! Like Keoma before him, Franco Nero's character here occasionally steps outside of himself and is witness to his own past experiences as a child; also, he suffers greatly at the hands of the current villain including crucifixion. The climactic confrontation (staged, again as was KEOMA's, in a barnyard) is appropriately rousing and ends the film on a positive note which redeems some of its earlier flaws.