Una donna chiamata Apache

Despiste we talked about a western spaguetti on a easy reading a low budge this italian production is clearly well done leaving a message against prejudice over two different kinds of ethnicities, considering a long time ago that human races is no longer exist anymore according biological sciences, starting that point the whole thing make sense if a white man desires an Apache woman in such special contexts applied in the script, the picture turn up an delightful avocation entirely moreover what is gone takes on final, amazing me it deeply!!

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First watch: 2011 / How many: 2 / Source: DVD-R / Rating: 7

APACHE WOMAN is a gritty Italian exploitation western that comes across as an obvious copy of the dark and downbeat US western SOLDIER BLUE. The film sees regular go-to guy Al Cliver as an old-fashioned soldier with a good heart who finds himself in possession of the titular character, an Apache as played by Clara Hopf who after a couple of film roles in the 1970s became a make-up artist. Short-term director Giorgio Mariuzzo is best known as the guy who later wrote Fulci's famous horror films including THE BEYOND.

The two characters then work their way through an embittered and hostile landscape in which every supporting character is a sleazebag or criminal of some sort. Violence and degradation are the name of the game here and I found this a surprisingly suspenseful little movie in places, with the bursts of intermittent violence proving a shock to the system. Cliver is a good choice for lead and Hopf is sufficiently sympathetic. Although the version I watched managed to excise most of the nudity, APACHE WOMAN is still an exploitation film through and through, but one which overcomes clichés to offer engrossing, if gruelling, entertainment.

After several Apache families escape from their reservation a cavalry squadron is sent out to take them back. Unfortunately, because of the intense hatred that they harbor toward them the soldiers decide to kill them instead. Yet after killing almost every man, woman and child they encounter an ambush by several warriors who had formed a hunting party prior to their attack. Meanwhile, back in the village one female Apache named "Sunsirahe" (Clara Hopf) and a slightly wounded cavalry soldier by the name of "Tommy" (Al Cliver) are left behind and together they form an uneasy alliance in an effort to somehow get back to Fort Cobb alive. What they don't count on is the hostility from both white settlers and those same Apache warriors seeking to avenge the murder of their families. Now rather than reveal any more I will just say that this was a low-budget spaghetti western which suffered from a crude plot and a rudimentary script. In addition to that, I also didn't care for the rather annoying background music either. Having said that, I must admit that Clara Hopf was quite attractive but even so her presence wasn't nearly enough for me to rate this picture any higher than I have. Below average.

Fine late Italian western, starring a sympathetic, almost romantic Al Cliver in a world full of racism, opportunism and greed. The story goes thus: Al Cliver is the member of a cavalry unit that takes out some Indians which have left the reservation - mostly women and children, and the old folks; the handful of Indian warriors are out hunting. Cliver's character happens to be knocked out and thus doesn't take part in the massacre. When he comes to, he meets the only survivor, Apache Woman. He soon loses her, however, to a couple of ruthless tricksters and bandits, who take her away to sell her into slavery - and have their fun with her. Cliver comes back for her, though, and the two start getting to know each other despite the language barrier. But the Apache warriors are still around, taking revenge for the extermination of their tribe...

The film wants to make a point about how difficult such a love racial barrier in fact proves to be, each time the couple comes across other people, be they Indian or white. Also, it looks at the military and its purpose in a contemptuous manner, obviously attacking the insanity of racism and war. There is some pretty explicit female nudity (bare breasts and bottom as well as the pubic area), but it is rare and never at the center of attention - though it has a bit of an exploitative feel to it especially in the (attempted) rape scene. Rather, the movie is focusing on the love of the two protagonists, how they learn to trust and understand each other.

There is little shooting, and the violence (apart from an ax murder) is never excessively gory. Instead, there is a distinctive guitar soundtrack and a beautiful title song, as well as some fine cinematography (of not so specular landscapes). What is maybe noteworthy: The western has a 'green' look, not the yellow of the desert of the southern border near Mexico; we see a lot of woods, and even the street of the ghost-town at the end of the movie - the only 'set' - is overgrown with grass.

What is perhaps most remarkable: Despite the warmth of the love story at its center, the film has an austere and simple feel to it, conveying a certain sense of truthfulness, which manages to steer clear of becoming exploitative.

Al Cliver won't go down in history as the greatest actor ever, or even the most adequate actor ever. He's just kind of there, staring at things. Apache Woman requires Cliver to just sort of stare at things anyway, and therefore it might be the best film he's appeared in as the leading man.

Al is part of a Yankee squad out to capture some Apache tribesmen who have escaped from a local reservation, and by capture I mean slaughter, including the women and children. These brave fellows manage to hold their own up against these unarmed mothers and kids, but when the actual Apaches braves show up they hightail it, leaving one dead Sargeant behind and one unconscious Al Cliver, who never ever fired a shot.

Some time later, Al wakes up to find to everyone dead except for one lady Apache and one passing salesman who is stealing the boots and jewellery from the corpses who figures that he can sell on the squaw as a sex slave. This lady is no pushover though so when two other dodgy cowboys turn up and try and put the moves on her, she headbutts one of the them and hightails it with Al.

You see, this is a messed up love story in a nihilistic mid-seventies way as Al and the Apache woman grow closer despite cultural and linguistic differences (requiring Al to do a lot of staring). A love story where the protagonists realise that their forbidden love will cause them to turn their backs on their respective societies so they can stare at each other over a campfire. A love story where every single white person cannot even see a human when they look on the Apache, including so called men of God. This paragraph was supposed to end on a joke but that doesn't seem so funny after all.

If you're in a foul mood and want to hate the human race a little more, this film will do the trick nicely. It's another twilight Spaghetti Western with a dark, dark heart.