I crudeli

"The Hellbenders" is Corbucci's predecessor to his genre defining "Django" of the same year. Initially, the film can be dismissed as a low-budget mess because of poor audio and cinematography, but there are redeeming qualities which make this film a landmark in the overall Western genre. It was one of the first to use Almeira, Spain as a backdrop. It follows the adventure of a gang of ruthless Conferates (three brothers and their father, Joseph Cotten) fleeing the Union cavalry, Mexican outlaws, a local sherrif, and a vengeful Indian tribe. They carry a coffin filled with booty, and a permit stating that the coffin contains the body of a dead lieutenant. Corbucci pulls in a femme fatale (Norma Bengall) to foil the gang's money heist. Along the way a Mexican bandit is backstabbed, so to speak, by Cotten, and the bandit proclaims that they will meet again in hell. I'll leave the plot twists for you to discover, but note that "The Wild Bunch," released two years later, has a similar plot and twists. Also note Corbucci's more refined and improved spaghetti western, "Django," employs the use a mysterious coffin, which houses a Gatling machine gun, just so conveniently used again in "The Wild Bunch." Ol' Peckinpah sure did his homework.

a special western. because the classic ingredients of genre are only details. because the theme of illusory dream becomes, scene by scene, more dramatic and complex. at the first sigh - the film of Joseph Cotten proposing an ambiguous hero. in fact, few interesting performances - Norma Bengell and Julian Mateos are the most easy to name - , a story who is far to be predictable, a powerful end who has the mark of period but who transforms entire story in a kind of parable. a film who is different by basic expectations. and that fact does it special. because it has not exactly genre apart, the theme is more profound by fights, love stories and line between good and bad guy, the meetings with different people, from the original sin to the desire of justice of the Indians , the memorable performance of All Mulock as the beggar, are steps to the verdict of viewer. a waste trip, madness of lost cause, justice or simply destiny. a film with many touching scenes. and with an useful message.

Joseph Cotton stars as Jonah, an ex-confederate trying to keep the dreams of the south alive following General Lee's surrender. He and his sons, known as the Hellbenders, massacre a troop to steal the money that they are transporting, with the aim of using this prize to restart the confederate cause. The stolen loot is stored in a coffin, disguised as the dead Captain Ambrose, and transported across the desert to Jonah's home town. They are accompanied by a drunken whore, under the guise of Ambrose's mourning widow, supposedly transporting the dead man to his place of rest. The search for the troop's murderers is in full flow, but Jonah is a man obsessed with the cause, and nothing or no-one is going to stop him achieving his objective.....

Hellbenders is an absolute classic of the Spaghetti Western genre, standing proudly side by side fellow Corbucci classics Django and the Great Silence. It continues in Corbucci's usual vein, firing bullets of unjust and unexpected twists at the screen, as the plot spirals towards its grim finale. All the while, the engaging trumpet of Morricone's score becomes more and more pleasing to the ear.

The slow but gripping pace of the movie reminds me of the Good, the Bad and the Ugly, in the way that its story is joined together by a number of sub plots. But here there is little humour. Aside from Ben (Mateos) and Claire (Bengell), the Hellbenders are an ugly and evil lot. Cotton is compelling as Jonah, his deadpan expression superbly capturing the characters single-minded vision. Pernice (perhaps most famous for having his ear cut off in Django) is truly deranged as the equally perverted and dim-witted Jeff. There are also great cameo appearances from euro-western favourites Al Mulock, Aldo Sambrell and Benito Stefanelli.

The film does tend to plod rather than gallop in a number of places (and this is in no way a bad thing!), and its story is quite different from the majority of the films in the Spaghetti Western genre. But it is a compelling view, with the scene at the Fort and the excellent finale worth the price of admission in itself.

After the Civil War a dedicated ex-Confederate officer leads a hearse with a coffin full of money to New Mexico where he wants to revive the Confederation. His company is formed by his three very different sons and an alcoholic women. After the woman gets killed she is replaced by a seasoned female gambler who is well played by Norma Bengell. The whole story unfolds in the way of a road movie where the characters are passing through the typical obstacles of a Western environment. Due to a massacre the bunch committed in the beginning they are hunted by unionists and government officials. Corbucci manages to make the characters who are basically all criminals very likable and I was more often than not at the edge of my seat when the bunch run into trouble. Probably THE WILD BUNCH from Peckinpah got some inspirations from here and Corbucci's COMPAÑEROS can be considered a later variant with a different mood.

The mood of the film is excellently supported by Morricone's score which belongs to his best. Cinematography is above average. The Spaghetti Western Web Board rated this film at #24 of all SW in 2005.

7 / 10

Under the pretense of escorting a body back east for burial, ex-Confederate Joseph Cotten and his sons transport a coffin full of stolen cash meant to be used to re-start the Confederacy and begin the second Civil War. However, robbing and killing a military transport was the easy part for Cotten and sons.

There's lots of great moments of suspense and double-crossing treachery in this slightly offbeat, above average spaghetti western, featuring director Sergio Corbucci's usual flair for excessive violence (for the 60's) and a good, more subtle than usual music score by the great Ennio Morricone.

Cotten, (who's great) in an appropriately cruel and domineering performance, heads a cast of familiar European faces, including a great cameo appearance by Spanish actor Aldo Sambrell as a sweaty Mexican bandit.