Texas, addio

Before watching the movie, I watched the interview with Franco Nero that's on the disc. When he said that this western is "more like an American western" than any of his other movies I began to worry since I generally don't care for American westerns.

The opening theme song of the movie is decidedly Euro-western, so that gave me some hope. Then the story began. The beginning scenes of the movie when they are in Texas are kind of hokey and corny in an American western sort of way, so I started to doubt the worth of this movie again. Fortunately this part of the movie is very short. The Sullivan brothers head off to Mexico and that's where the story unfolds and quickly becomes one hundred percent spaghetti western.

The music score is very good, with lots of spaghetti style trumpets and guitar. The theme song becomes a haunting recurring melody.

Franco Nero gives another action packed performance in this movie. His character, Burt Sullivan, has an uncanny ability with a gun that's reminiscent of Django. Jose Suarez is excellent in the role of the slimy land baron who murdered Sullivan's father, and Jose Guardiola is great as his cultured crony McLeod.

Needless to say, this movie was much better than I expected after hearing Franco Nero's comments. This is definitely not an American western! If you like your spaghetti westerns packed with action and revenge Franco Nero style, do yourself a favor and check this one out.

Burt Sullivan, a rugged Texas sheriff heads to Mexico along with his raw younger brother Jim to seek revenge, by arresting the man Cisco Delgado for murdering their father quite a few years ago. When they reach a small Mexican town, they learn that everyone fears Cisco, as he has power over the people and their laws. Even with those obstacles that get in his way of finding Cisco, Burt wants his man, but a family secret he learns from Cisco when they finally meet. Turns the much-wanted revenge, into something even personal.

The ever cool, hard-ass Franco Nero appears in this customary walk-in-the park spaghetti western. There's nothing really going for it to set apart form the norm, but due to Nero's charismatically gloomy presence, fluid pacing and Enzo Barboni's terrifically panoramic and professional looking photography of the desert terrain. These things go on to shape it into a solid, if unremarkable experience. The passé premise is a simple and unassuming one with a relaxed temperament, which is broken up by excitingly fast action, brutal stabs of violence and would go onto spring one random twist midway through. Plastering the firm script is plenty of snappy dialogues, but also lazy cracks can show up and stock characters are represented. Other than Nero, the only other performance to standout was José Suárez sophisticatedly sadistic part as Cisco. The plot actually allowed a bit of development and emotional play to the Cisco character. The rest of the noble cast were more than acceptable. Director Ferdinando Baldi squeezes in some stylish lashings and energetic verve, but rather then being truly dazzling in its context and visuals, it turns out to be proficiently competent and surefooted. Nothing pretentious marks its way in. Anton Garcia Abril's exuberant music score can be dynamic and tight, but feel symmetrically staged. Don Powell opening / closing emotional car wreck of a song can be quite risible. The English dubbing is not so great either, but there's not real damage by it. It's a polished and workmanlike production, but there's few major draw-cards.

"Texas, Adios" is middling work of the sub-genre, but for the fans it diverts and breezes by in no time.

im glad i just saw the movie for the first time. why? i didnt have to be so damned concerned about the "poor dubbing" some are whining about. the dvd comes with the italian track!! anyway, i never have complained about a films poor dubbing job. im much more into any film to sometimes notice. i may giggle a little....but its not that distracting. i also get a kick out of how many people cant handle "keoma" because of the music. whatever. i thought it kinda fit...so im weird. TEXAS ADDIO is a great story with solid action again featuring the italian gun-slingin master, franco nero. i really enjoy that guy and im looking forward to him with the dvd release of "django". i have over 1000 dvds in my collection but my euro-western section is only 21 titles long with more on the way. "texas.." is most welcome in my collection and worth repeated veiwings. many j. wayne films sit close to the sketti titles but they have nothing to do with each other except for that they are all great westerns. also close by is "dead man" with j. depp....a great film but comparing and sizing up actors and titles is a waste of time for me. also see "the great silence" and "bullet for the general" if you have not checked them out yet. youll find nice dvds of each on shelves now.

This isn't a bad Italian western at all--though compared to the rest of the films in this genre, this one is even lighter in plot and mostly consists of a lot of shooting and killing. Now, it's reasonably well-done shooting and killing, but if you're looking for depth, this movie isn't for you.

Franco Nero plays a sheriff in a Texas town. After YEARS of waiting, he and his brother inexplicably decide NOW is the time to track down their father's killer in Mexico. However, when they arrive and even mention the guy's name, Delgado, folks get a bit ornery and the killing begins. In fact, once they are in Mexico, practically not a single minute goes by when someone isn't shot!! And, eventually, a dark secret is learned--but I'll leave that for you to discover. And, also to discover is the wonderfully bloody and bullet-riddled finale.

This film is pretty good but it all boils down to lots of death and not much more. Nero is handsome and very good in the lead but an otherwise ordinary sort of western.

These days you forget what a name Nero was in the Sixties and Seventies. In 1966, the former army grunt turned physical actor starred in three westerns within six months - Django, Massacre Time and Texas Adios - before heading to Hollywood for a supporting role in Camelot, and then international stardom. It was as Django, however, that turned him into a major star in Europe; Nero as the steel-eyed Angel of Death dragging a coffin behind him personified the fashionable neo-nihilism of the Italian western and made him as iconic as the Kings of the Squint, Clint Eastwood and Lee Van Cleef.

Texas Adios, released in 1966, was a much more deliberately American western. Franco Nero is a clear-cut moral figure as Burt Sullivan, sheriff in a Texas town who takes his younger womanizing brother Jim across the border to find their father's killer, the mysterious "Delgado". It's Adios Texas and Hola Mexico, but the country they find is more hostile than Burt imagined. It's a lawless landscape where no-one can be trusted, controlled by morally bankrupt power brokers and would-be revolutionaries, and Delgado turns out to be the most powerful land baron in Mexico who likes to play with his captives before executing them. What begins as a simple quest for revenge becomes much more ambiguous as the plot unfolds and family secrets are revealed.

Like all great Italian westerns, Texas Adios is beautifully shot by Enzo Barboni, who as "EB Clutcher" would later create his own sub-genre of Trinity movies with Terence Hill and Bud Spencer. And, despite its allusions to the classic models of Gary Cooper and Jimmy Stewart, it's a spaghetti western at heart, and its heart is cold and cruel. "Are you tired of living (pronounced 'leeeeving')?" asks Delgado's greasy right hand man, and the answer seems to be a resounding yes: sympathetic characters are disposed of with little fanfare, and Nero's idealistic younger brother Jim played by Alberto Dell'Acqua is taught that becoming a man means becoming immune to killing.

Me, I'm already numb to the wholesale slaughter, and you will be too, as we ride the blood-soaked plains in Texas Adios.