Les requins du désert

A movie directed by the great Tonino Valerii, scripted by the great Ernesto Gastaldi and starring the great Franco Nero raises high expectations. In the case of SAHARA CROSS (1978), I regret to say that mine were not nearly met. Director Valerii is best known for his Westerns including I GIORNI DELL'IRA (DAY OF ANGER, 1967), IL PREZZO DEL POTERE (THE PRICE OF POWER, 1968) and, especially IL MIO NOME E NESSUNO (MY NAME IS NOBODY, 1973). His filmography also includes great contributions to other genres, such as the fantastic Giallo MIO CARO ASSASSINO (MY DEAR KILLER, 1972). Ernesto Gastaldi is one of Italy's most prolific screenwriters, his oeuvre including such masterpieces as Sergio Martino's Gialli or Umberto Lenzi's brilliantly brutal Poliziottesco MILANO ODIA: LA POLIZIA NON PUÒ SPARARE (1973). And Franco "Django" Nero is one of the most widely respected Italian actors, for very good reasons. With such a great director/screenwriter/star team, it is even more disappointing that the monotonous Action/Adventure SAHARA CROSS is such a bore.

Nero plays the leader of a bunch of mercenaries who help with the investigation of oil in the Sahara Desert. When one of them is killed in an attack by a bunch of terrorists, the group decide to follow the evildoers and avenge their friend... which results in a very tiresome hunt.

Overall, SAHARA CROSS is far too slow-paced and, in some parts, actually boring. None of the characters are likable, nor are they selfish or ruthless enough to be interesting for that. There is far too little gore and violence (even though there is some), and no sleaze or nudity (one sex-scene takes place off-screen. For a movie with a rather uninteresting plot, this is not much. The score by Riz Ortolani is great as all his works, and Franco Nero is cool as always, but that's pretty much everything there is to recommend SAHARA CROSS. Not necessarily a bad film, but doubtlessly disappointing considering the talent involved in it, and actually quite tedious at times. Not recommended.

This gem is quite unusual for italian films of the area. It's a contemporary actionthriller taking place in the Tunisian desert. Franco and Co. is a team of oilprospectors working for a huge corporation. At the same time the region is plagued by Redarmy-style terrorists. Franco is great as usual, so is the rest of the cast. And the on-location direction by Tonino is spirited and features Steadycam-work (the first for an italian production?). And there's even a man to man battle with heavy machinery. The music, so essential to the flavour of italian films of the time, is by no other than Riz Ortolani and perfect for those selfmade bootleg soundtracks.

I'd never heard of this one prior to happening upon its German DVD at a local rental outlet; it deals with three characters (and their African guide) who, after meeting up in the Sahara desert for a mystery job, become involved with a group of terrorists. The situation sees the two sides constantly double-crossing one another to gain the upper hand – the title (which is also how the film's called on its home ground), then, refers to their lengthy trek over a period of scorching days and freezing nights (via numerous means of transportation).

Though not a great "Euro-Cult" effort, SAHARA CROSS is a reasonably entertaining ride (co-written by the ubiquitous Ernesto Gastaldi and with a twist ending that makes of the film a sort of lighthearted RABID DOGS [1974]!). It's rendered all the more tolerable by the exotic location work, a cast that includes Franco Nero (his undeniable star quality takes some time to emerge here but, once it does, he invests his role with a typical blend of irony and machismo – conveniently, one of the terrorists is a good-looking girl!), Michel Constantin and Michael Coby, and a pounding score from Riz Ortolani.

Director Valerii maintains a good rhythm throughout between action, politics and suspense. This is the sixth film of his that I've watched, following four Spaghetti Westerns – DAY OF ANGER (1967), THE PRICE OF POWER (1969), A REASON TO LIVE, A REASON TO DIE (1972) and MY NAME IS NOBODY (1973) – and the semi-poliziottesco VAI GORILLA (1975); one I've missed out on in the past and would love to catch is the giallo MY DEAR KILLER (1972).