Johnny Yuma

I wanted to like this a lot more than I did. From the title song on I felt like it was trying hard to find it's place within this competitive genre, but was misguided. All the ingredients are here for this to be a fantastic Spaghetti Western, but I think it took itself too seriously. There is some basic comic relief with his best friend and the score is OK, but makes the movie feel more like an American Western than it's Italian compadres. The lead female villain is pretty fantastic, but overall I think there are better movies within the genre. If you are into watching gun fights there is a pretty solid one that lasts quite awhile near the end of the movie.

This is a very memorable spaghetti western. It has a great storyline, interesting characters, and some very good acting, especially from Rosalba Neri. Her role as the evil villainess in this film is truly classic. She steals every scene she is in, and expresses so much with her face and eyes, even when she's not speaking. Her performance is very believable. She manages to be quite mesmerizing without being over the top (not that there's anything wrong with being over the top). Mark Damon is surprisingly good in this movie too.

The music score is excellent, and the theme song is the kind that will be playing in your head constantly for days after seeing the movie, whether you want it to or not. There are a couple of parts that are very amusing. I especially like the part where Rosalba Neri undresses in front of the parrot. There's also lots of slick gun-play that's very well done.

I would probably have given this movie 8 or 9 stars if it wasn't for two things. The first being a silly bar room brawl that occurs about 25 minutes into the film. This is one of the most ridiculous looking fights I have ever seen in a movie. It is very poorly choreographed, and looks more like a dance number from a bad musical than any kind of a real fight. One might be able to overlook this if it were a Terence Hill/Bud Spencer comedy, but this is a more serious western, and the brawl really needed to be more realistic. The other thing that annoyed me about this movie was Yuma's cowardly Mexican sidekick. I guess he was supposed to be comic relief or something, but the character was just plain stupid and unnecessary in a movie like this, and he wasn't at all funny. All I can say is where is Tuco when you need him?

All that having been said, let me assure everyone reading this that Johnny Yuma is a classic spaghetti western despite the faults I have mentioned, and all fans of the genre need to see this movie.

A decent Spaghetti Western with a sympathetic starring, Mark Damon, versus an extremely villainess Femme Fatale, Rosalba Neri. It deals with a mean, greedy woman callled Samantha Felton : Rosalba Neri, who kills his wealthy hubby to take his inheritance. But the husband left his ownerships to a nephew, the resourceful Johnny Yuma : Mark Damon. Then the widow and her brother hire a hit man : Lawrence Dobkin, to kill him.

Above average Spaghetti Western with noisy action, thrills, fights , violence, crosses and double-crosses. It is an exciting Maccaroni Western with brawls at a saloon and breathtaking duels at a village, brief dosis of humor and surprising bursts of violence. Mark Damon performs a young gunslinger who unexpectedly inherites from his uncle and ultimately forms a steadily alliance with another gunfighter well interpreted by Lawrence Dobkin. At the beginning his long career Damon starred as an extra for US movies , and subsequently acting secondary characters and as main starring in Roger Corman films . Mark , then emigrated to Italy where played ordinary genres as Peplum and Westerns , as he interpreted : A train for Durango , Cry for revenge, Requiescant , Johnny Oro and this Johnny Yuma . Soon after , he moved into other film genres and playing good guys or bad guys in adventure movies as Lions of St Petesburg , Normand Sword , 100 knights , and Long Live Robin Hood , these parts often exploited his athletic physique and strong skills . Many years later , Mark Damon abandoned the interpretation and became a successful cinema producer by financing big hits . Here Rosalba Neri steals the show, she chews the scenary by playing a really baddie woman who will stop at nothing to get his purports. If the starring trío: Mark Damon, Rosalba Neri, Lawrence Dobkin are pretty good , the remaining support cast is acceptable , though unknown , I miss the agreable familiar secondary faces regular to Spaghetti Western sub-genre .

Special mention for the brilliant musical score, adding enjoyable leitmotif, in Ennio Morricone style by Nora Orlandi, including catching songs. As well as sunny and colorful cinematography by Mario Capriotti, shot in Elios Studios, Rome, Lacio and exteriors in similar lanscapes to Sergio Leone's Fistful of dollars, including Finca El Romeral, Cortijo El Sotillo, Almeria, Andalucia, Spain. The motion picture was well and originally directed by Romolo Guerrieri. This filmmaker was a good craftsman, directing various films about Italian sub-genres and exploitation films, such as : Post-nuke Sci-Fi : The Last Warrior, Poliziottesco or Italian Crime : Young, violent, dangerous, City under siege, Ring of death and Ravioli Western : 10000 Dollari per un massacre, Seven guns for Timothy, and Johnny Yuma. Rating 7/10, better than average. Well worth watching. The picture will appeal to Spaghetti Western fans.

One of the more satisfying Western all'italiana, Johnny Yuma has the freshness of many WAI made during the heyday of the genre and is highly recommended for fans of the genre or offbeat, intelligent cinema.

Johnny Yuma is, in most respects, not terribly original, but this actually does not count against it. The success of a genre film depends on how well it meets the audience's expectations as well as provides surprising variations on these expected elements. Earlier, pleasing experiences are recreated but with subtle (or major) twist that provide continuing interest. The quality of the execution is also, obviously, important. A tired retread will be less successful than a sincere attempt to entertain or move the audience.

Given these criteria, Johnny Yuma succeeds. There are numerous reprises of elements from earlier films. The setting is the brutal, twisted semi-feudal twilight world of shared by many of the best "Gothic family" westerns made 1964-1968 such as Tempo di massacre (1966). The plot is a combination of the basic Fistful of Dollars (1964) plot and the Ringo films, a fact not surprising as screenwriter Fendiando di Leo was involved in both. Di Leo was one of the best screenwriters in the popular cinema coming out of Cinecitta in the 1960s-70s and his work helped provide much of the thematic continuities and coherency to the genre (Along with a couple of other personalities in a few distinct circles of actors, directors, and screenwriters). In the FOD plot, the protagonist arrives in town, stirs up a tense situation, then undergoes a near-death followed by a resurrection (in some films, like Quella sporca storia nel west (1968) it is quite literally a crucifixion). The Catholic undertone to the narrative and the symbolism is intriguing, especially given the implicit populist/explicit socialist leanings of the filmmakers and their films. The Ringo plot, developed more fully by screenwriter Ernesto Gastaldi in a series of films starring Guliano Gemma, a egoistic protagonist chooses the interest of a community over his own through the medium of a relationship with a member of that community (with a healthy dash ironic uncertainty).

The relationship between Carradine and Johnny is clearly based on that of Manco/Mortimer from a Fistful of Dollar (1965). The two scene of the exchange of the gun belts provides a clever dialog and understanding between the two. Numerous films, including Da uomo a uomo (1968) or even El Chuncho, quién sabe? (1967), use this relationship between an older and younger man (father/son, older/younger brother, Anglo adviser/adversary and peasant revolutionary) as a central dynamic to the plot.

Additionally, there is the focus on deception and misdirection, mazes and mirrors, that recur throughout the best early WAI. The canons and pueblos of Almeria become literal mazes through which protagonist and antagonist play shifting games of cat and mouse.

What distinguishes Johnny Yuma from other WAI is the quality of director Romolo Guerriri's use of visual/psychological space together arrangement with the script's intelligent mechanisms to forward the plot. Dialogue was never very important to the WAI and often absurdly unintelligible (thought there are exceptions, such as the cynical commentaries in Django (1966) or Faccia a faccia (1967).

Psychological depth of character is created almost entirely through iconic imagery, it's juxtapositions, and it's description of the overall narrative situation. See how the presence of the deadly Samantha is felt during the beating scene – watching from the roof or from the background of the action. Or how Johnny strips Samantha and Pedro of their security and confidence in their power through his stealthy invasions of their ranch, hotel, even bedroom (this, again, is a theme from FOD). Finally, note how there is a focus on the search for information. Like many elements, this is borrowed from FOD which was ultimately based on the hard-boiled mystery novel Red Harvest. It is through incidental contacts, wanted posters, overheard conversations, glances out of windows, watches left in the dust, or mistaken identities and movements through the ripples created by the actions of Pedro and Samantha within this surreal and absurd reality that the narrative tacks forward to it's conclusion.

The movie was notable in it's time for what were perceived of as excesses in violence. Of course, these films were hardly more violent than many American westerns. What was different was the psychological intensity of the violence and the causes to which it was attributed, which is to say that it was not the violence but it's meaning that had changed. Johnny Yuma is distinct and interesting in it's use and portrayal of violence and this is another interesting aspect of the film.

What I personally find most interesting about most of this genre is the link it provides to the anonymous, nameless audiences in Italy and Spain to whom these recurrent narratives held some significance and interest. The artifact may have no intrinsic worth in and of itself – some flint debitage from a prehistoric site, a shard of cruse pottery, or a moldering piece of leather and rusted metal – but it is reference to some nameless presence, lives, that were significant simply because they existed. While Johnny Yuma has intrinsic worth, much of it's interest for me derives from this connection and mystery.

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After some difficulty, Johnny Yuma arrives at his ailing uncle's ranch to take over day to day operations, only to find out that the old man has been murdered by his beautiful gold-digger wife and the woman's vicious brother.

Good production values, a likable performance by Mark Damon, and a breezy action packed script combine to make this an entertaining, if not exceptionally deep, above average addition to the spaghetti western genre.

Co-star Rosalba Neri is one of the hottest European babes ever to grace the screen. Here she's absolutely perfect as the cold-hearted user (and abuser) of weak men.

Damon and Neri appeared together in at least one other picture, The Devil's Wedding Night, a pretty good horror movie that's of particular interest for those of you that want to see what's underneath Rosalba's dresses.