Les dollars du Nebraska

A laconic drifter, who calls himself Nebraska, is hired as a ranch hand by Marthy Hillman and his wife Kay who are under pressure from a ruthless landowner, named Bill Carson, who extorts money from the ranchers. Carson has his sights set on Kay as well as the land, Nebraska plans to save Hillman from Carson's men and rescue Kay.

Ken Clark is very likeable as an intelligent hired gun, who has a conscious, and does things because he gives his word, unlike Clint's The Man with no Name, who is out for monetary gain. It's a decent western, leaning more towards American westerns (echoes of Shane here), but still has the Spaghetti western elements. It's a well shot, has some action and a lengthy brawl. There's some neat twists. Predictably the wife has the hots for Clark but Clark sort of resists- definitely makes him more closer to Gary Cooper than Eastwood.

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 .

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).

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!