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Spaghetti western with Tomas Milian as "The Stranger", who is left for dead and buried in the desert after being betrayed by his former compadres. He's "resurrected" by a pair of odd Native medicine men who agree to assist the Stranger as long he imparts the wisdom he's gained from being in the spirit world. They end up in a small town where various factions are fighting over bags of gold dust.

Also featuring Roberto Camardiel as "Sorrow". This is a bizarre western even by spaghetti standards. It's violent, bloody and outrageous. The "hero" uses bullets made of gold, so if someone survives a shooting, others try to tear them apart to get to the valuable nuggets inside their bodies. The oddest aspect to the film may be the "Sorrow" character, a portly bearded rancher with a small army of gay gunfighters in his employ, all wearing matching uniforms. The script is a mess, and the direction by Giulio Questi is uneven, but cult film fans may enjoy seeing this for the uniqueness of it. Oh, and it has no characters named "Django", or any connection to other films with Django in the title.

Bandit Tomas Milian survives an impromptu execution by double-crossing partners. Crawling out of a pit, he's nursed by two Indians who ascribe mystical reasons for his not dying. Soon he tracks the others to a strange town where inhabitants strung up the gang and took the gold, which another violent big shot is willing to kill to possess.

I don't quite get what others say about this being "surreal" or "hallucinatory", as the film appears to be pretty straight-forward to me. It's weird, but it's not Eraserhead or Alejandro Jodorowsky weird.

It's more along the lines of an artiste tying to make a political statement about capitalism, using shocking, violent imagery to attract the attention of the bourgeois and perhaps make the movie attractive to the art-house and grind-house crowds.

Although pretentious, this stays interesting throughout, with a good performance by Milian. However, teen-aged Ray Lovelock's implied gang-rape by Zorro's (Yeah, that's the villain's name!) horribly-dressed goons was a bit silly and gratuitous.

It first seems it's going to be a standard "hunt-down-for-revenge" western, but then half an hour in it takes a surprising turn. In fact, at first you don't know where it's going, and it's a lot of fun trying to figure it out. There's certainly a lot going on (various subplots), and it's directed in a slightly surreal style that keeps you interested. In the end, the movie bites off more than it chews - some things seem unresolved at the end (where did Django's Indian friends go, for example?), though since I saw the 110 minute version instead of the 117 minute version, maybe some things got lost in the cut. Though it's not perfect, spaghetti western fans will find enough to make it worth their while.

A fine, if somewhat bananas spaghetti western that cashes in on the Franco Nero/Sergio Corbucci Django of the previous year simply by including Django in the title. What we have here, though, is a marvelous, if somewhat slightly mysterious example of the genre. More interesting than Django is a B***ard, or whatever its called this week, Django Kill really pulls out all the stops in an endless parade of the macabre. From the curious opening scene with Tomas Milian crawling out of a grave to the brutal lynchings and gothic horror drenching of one of many villains in liquid gold- this is a real treat for genre fans. As with many similar movies there are no morals anywhere to be seen, characters turn up, rub their hands together, kill mercilessly and then are shot down or, in this case, killed by an exploding horse. I understand that there are many versions of this movie in existence, which is not surprising in the least. The version i have was shown on uk tv five or six years ago, so i suppose its incompleteness would be down to broadcast quality prints. Its still a real doozer though.

This one certainly lives up to its reputation as the most peculiar Spaghetti Western there is, a quality which makes it unique but not exactly entertaining (the pace is slow and the film somewhat protracted, if never less than fascinating)!

It features an atypical performance from lead Tomas Milian: usually the brash man of action with a humorous streak, here he's the cynical and mostly passive observer who even arrives late for the climax! Apart from the star, Marilu' Tolo and Ray Lovelock, the international cast - including several non-professionals - is unfamiliar but, as director Questi said in the exclusive Audio Commentary, their indelible faces were just what he needed for the film! By the way, in spite of the film's English title, it's not related to the 1966 DJANGO - and, in fact, Milian's character remains unnamed throughout - that spawned innumerable variations but only one direct sequel (made more than 20 years after the original)!

Here, we also find several elements of Gothic horror (Milian 'rising' from the dead, the 'mad woman' character borrowed from "Jane Eyre", the weird prison torture scene involving vampire bats and iguanas, the fiery climax in which the villain's face is covered with melted gold, etc.); besides, Tolo is made-up to look like Barbara Steele and the greedy townsfolk's gory groping into the body of a dying bandit riddled with golden bullets curiously anticipates the zombie films of George Romero! Actually, the film's graphic depiction of violence gave it a certain notoriety which further fueled its cult status; in fact, the bullet sequence and the scalping of an Indian were censored at the time but, curiously, got reinstated for the shortened 1975 re-issue under the name of ORO HONDO (which had been the film's working title)! There's even a scene in which a horse is saddled with a charge of dynamite and let loose among the villains (whereupon we see shots of its intestines and the body parts of the various victims strewn about!) - though, in all fairness, in A PROFESSIONAL GUN (1968) a man was also nonchalantly killed by a grenade in the mouth!!

Other unexpected elements in the film are its religious overtones (apart from Milian's crucifixion, the Indians who help him are mystics while the villainous Hagerman also serves pretty much as a bible-thumping preacher to the community) and the presence of black-clad gay cowboys as prototype Fascists (thankfully, we're spared their gang-rape of Lovelock - here in his film debut! - whose immediate reaction, naturally, is to shoot himself) led by a Spaniard (all dressed in white!) that goes by the name of Mr. Zorro(?!), and who shares a love-hate relationship throughout with a spirited parrot!!

The film also features a good score by Ivan Vandor and Techniscope photography by Franco Delli Colli (though the outdoor night scenes are way too dark!), and the locations - Questi was especially proud of his uncharacteristic white desert - are notable too. Franco Arcalli, an unusual combination of screenwriter and film editor, devises some 'trippy' montages throughout - which, therefore, adds psychedelia to an already eclectic mix of cinematic styles that distinguish this Spaghetti Western!

I opted to purchase the Italian DVD over Blue Underground's R1 edition due to the inclusion here of the afore-mentioned highly informative, full-length Audio Commentary featuring director Questi (who is very modest and actually attributes many of the film's bizarre touches to logical progressions of the narrative - which, needless to say, doesn't entirely convince the trio of moderators who accompany him throughout this engaging discussion!). However, with respect to the otherwise commendable Alan Young Pictures disc, one has to contend with a distracting layer change (in mid-sentence!), at least one other instance of audio drop-out and a baffling reversal, for one line of dialogue, to the English soundtrack (for the record, I watched the Italian-language version with the audio set in its original mono rendition; I tend to scoff at re-mixes of classic films)!!