E per tetto un cielo di stelle

Mario Adorf hunts down con-man Giuliano Gemma, who swindled him out of six-hundred dollars worth of gold, only to partner up with him for a series of crooked money-making schemes and a few encounters with a psychotic gunman from Gemma's past.

This lightly comedic western is likable enough, though a little too loosely plotted. After awhile, one begins to wonder what exactly is the the point of all the duo's hijinks. However, the climax is definitely worth hanging around for.

The entire film hangs solely on the charisma of it's two stars, who don't disappoint. The score by Ennio Morricone is pretty good too.

A coach full of innocent people is attacked and everyone murdered. A psychotic gunman is hunting for a man called Billy. When leaves the area, a stranger arrives and gently brushes dirt off the face of a dead girl. Silently, he begins to bury them. Another stranger turns up and together the bury the corpses to the haunting, melancholic tune of Ennio Morricone's soundtrack. What follows is a...comedy?

This is the most bi-polar Western I've ever seen. Morricone's soundtrack is heart wrenching and beautiful. The gunfights are violent. Women are beaten and tortured, and yet, in between all this, there's slapstick and one liners. Mood swings?

One stranger is Giuliano Gemma and he's the guy on the run from the psycho. The other guy is Mario Adorf and he's a miner with a bit of gold but not a lot of brains. Gemma is at first out to con Adorf which does over and over again, but then Adorf is so kind and big hearted the two of them just bond. However, there's still that crazy guy and is family to worry about.

It's kind of a road movie as the two characters head for Adorf's ranch and encounter various characters, like the fake Mermaid lady or the bank robbers. None of it should work but it all kind of does anyway as the man behind the camera is the guy who made Death Rides A Horse. Kind of weird to take though as people are still gunned down brutally ala a Spaghetti Western from 1968, but has huge bar fights and punch ups like a 1972 Spaghetti Western.

I was curious to watch it as I'd never seen Mario Adorf in a Spaghetti Western before. He does well as the slow miner guy. Gemma is the usual goofy charmer and a ladies man.

This is a spaghetti western that is genuinely funny, but it also has its share of serious action which keeps it from being just another run-of-the-mill light-weight comedy.

Adorf and Gemma are great as the protagonists of this film, and I find them much more believable than Terence Hill and Bud Spencer. Federico Boido and Anthony Dawson are even better as the over-the-top father-and-son villains who are hunting for Gemma. They are very entertaining to watch. Boido's character is especially funny, and both are marvelously ruthless. The showdown at the end of the film is classic.

The music score by Ennio Morricone is great, as always, even though its far from being one of his best.

This is definitely a movie worth watching, especially for Euro-western fans.

The first time I watched this I rated it only **1/2; among the first to send up the Spaghetti Western genre, I tended to overlook it in favor of the director's more sobering DEATH RIDES A HORSE and TEPEPA (both 1968). Still, it's such an engaging, consistently entertaining and often uproariously funny film that rating it any lower than *** would suggest that it's less than good, which certainly isn't the case!

The film's rambling narrative revolves yet again around the buddy-buddy formula in an obviously broader vein; even so, the film has its serious side since it opens with a stagecoach massacre and a similar fate befalls a couple of traveling circus performers towards the end - the perpetrators are a gang of criminals hotly in pursuit of ex-comrade and sharpshooter Giuliano Gemma who wants out (he doesn't even carry a gun anymore), preferring to make his living as a confidence-trickster (which, as it turns out, is no less precarious or law-abiding than being a bandit!).

His companion, more often dupe, is Mario Adorf turning in an inspired performance as the gullible and gruff yet amiable would-be rancher (whom Gemma embroils in many a scheme - fake telegraph service, circus acts involving a siren and Adorf himself fitted with a loincloth and breathing fire - to fleece the unsuspecting townsfolk). At one point, Adorf himself is made to invest all his savings in an inexistent bank and, later, falls for his partner's ruse that a funeral procession they meet up with is for a famous bandit who has a fortune buried in his back-yard (only to learn, after having dug a hole "all the way down to Hell", that he had been wheelchair-bound since childhood) just so Gemma could make out with the deceased's luscious young wife - the dinner-table scene between Gemma and Magda Konopka here is highly reminiscent of the celebrated one featured in TOM JONES (1963). Forsaking Gemma for a visionary drunk, Adorf manages to rob a gold shipment by posing as a Wells Fargo employee - though his partner in this venture turns out to be a bloodthirsty maniac who mows down an entire Army platoon which sets out in pursuit of them!

Anthony Dawson turns up at the climax as the sadistic chief villain; having taken refuge in Adorf's dilapidated ranch (which they leisurely restore), our heroes then see their dreamhouse literally go up in smoke when they are forced to blow the place up with Dawson's gang still inside! The tireless Ennio Morricone provides yet another exemplary score; the wistful main theme is especially striking.

Ah, such beautiful music!

This film opens with a classic sequence. A stagecoach is attacked by a gang, with all the passengers brutally massacred. Cue Morricone's haunting soundtrack as the camera focuses on the dead, and in particular the face of a blonde girl. A hand brushes the dust from her face,and the camera pans up to show the sorrowful face of Billy (Giuliano Gemma). A truly moving scene, but made particularly so because of Morricone's music.

In a way, this opening sequence is quite out of place with the remainder of the movie. The rest is a light-hearted affair, based around the partnership of Billy and Larry (Mario Adorf). Billy is a smart, world-wise man, whilst Larry is not gifted with the greatest amount of intelligence. This is a perfect foil for Billy, who is a convincing conman and successful in getting the better out of his gullible partner throughout the film (including robbing him of his entire life savings).

The action really hots up when the character of Roger Pratt (Federico Boido) is introduced properly (until this stage, he is purely the face of the gang leader from the opening ambush). He is a brutal man, tracking down Billy on behalf of his father Samual Pratt (Anthony Dawson). The second half of the movie concentrates on this pursuit, with Samual also arriving on the scene and proving to be as barbaric as his short-fused offspring.

Director Giulio Petroni (of "Death Rides a Horse" fame) adopts a similar style to the one used in his later Milian cast "Life is Tough, Right Providence?". It shares its episodic structure, and "clever man/thick man" partnership. Anyone that has read my other reviews will probably have noticed that I do not generally like the more light-hearted westerns. However, I did very much enjoy most of this particular film (the same could not be said of "Providence" incidentally).

Gemma does not look as comfortable with the more comedic role as he does to that of an angel-faced gunman. But he still looks and acts the part - as likable in this film as ever. Adorf meanwhile is suitably oafish (in a role that would have been perfect for Bud Spencer), as Boido and Dawson are villainous.

A particular highlight of the film is a superb scene as Billy cons his way into the house of a beautiful Widow (played by the frankly gorgeous Magda Konopka). Another very beautiful Spaghetti Western actress, part sorrowful and part sexually teasing.

As my review closes, I must dwell further on that opening sequence. The background to this massacre is never fully explained - perhaps those killed have been unfortunate acquaintances of Billy, and suitably punished by the Pratt gang. I don't know. And, in its serious nature, it perhaps feels like a scene that doesn't really belong in this film. But... if you watch it for no other reason, then watch it for this powerful prologue (even close your eyes just to hear Morricone's score). I am also quite confident as you sit through the whole film that you will find other scenes that you will enjoy.