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This is a violent , beautifully crafted as well as exaggerated Spaghetti and packs taciturn acting on cynical characters with bloodbaths including high body-count , sense of style and elaborate narration . It pits ¨Man with no name¨ against two families that are feuding between them , the Rogers and the Caine . As a gunslinger (Robert Hossein) saves the damsel in distress who is also his former flame (Michelle Mercier) and at the same time she is seeking revenge for death her husband . The gunman join forces with the widow pitting the nasty family who uses twisted means to chase them and it terminates in a deadly feud . The pistolero kills various bandits in a gunfight at the saloon , then he is detained and imprisoned by the sheriff . Later on , there takes place kidnapping , killings , street shootouts at a ghost town and tragic events .

This classic Western titled ¨Une Corde, Un Colt..." or "Cemetery Without Crosses" or "The Rope and the Colt" contains slow and deliberating filming , elaborate shoot-outs , and portentous close-ups of grime-encrustred faces with heinous bloodbaths included . It is a strange , slow-moving and almost utterly visual picture with some surprises and well paced . Robert Hossien stars as a leather-clad gunfighter and wearing black glove , drawn into a dramatic facing off between two revengeful families . Hossein plays a drifter similarly to Clint Eastwood's ¨Man with no name¨ from ¨A fistful of dollars¨ and ¨For a fistful of dollars more¨. Fine support cast formed by Italian/French actors , all of them customary Spaghetti such as Guido Lollobrigida or Lee Burton , Daniele Vargas , Serge Marquand , Benito Stefanelli and Ivano Staccioli . Special mention to Michele Mercier as attractive as well as vengeful widow .

This is a well-made French/Italian production , in spite of , there appears usual Spanish secondary players from Paella/Ravioli Western , mostly uncredited , such as Simón Arriaga , José Canalejas , Álvaro De Luna , Charly Bravo , Cris Huerta , Lorenzo Robledo and Angel Alvarez as a Barman likeness to his role in Django . Unforgettable and terrific original music by André Hossein , in Ennio Morricone style , including a catching leitmotif , one of the best of Spaghetti . Worn-out cinematography by Henry Persin , being necessary a nice remastering because of the colors are faded.

This stylish , violent , laconic Western was very well shot by Robert Hossein and is dedicated to Sergio Leone , who made one of the more important scenes . Hossein did revive his career almost instantly on the strength of this film through the main role and filmmaking . Director Robert Hossein claims that Dario Argento was not involved in writing the screenplay with perhaps not more than two dozen lines of dialog ; Dario Argento is listed in the credits on the Italian and German versions but not on the French version . Robert Hossein said that the dinner scene at the Rogers house was directed by Sergio Leone. Rating : Better than average Spaghetti Western .

Une corde, un Colt (AKA: Cemetery Without Crosses) is directed by Robert Hossein, who also stars and co-writes the screenplay with Dario Argento and Claude Desailly. Starring alongside Hossein are Michèle Mercier, Anne-Marie Balin, Daniele Vargas, Guido Lollobrigida and Serge Marquand. Music is by Andre Hossein and cinematography by Henri Persin.

After being forced to watch the lynching of her husband by the ruthless Rogers family, Maria Caine (Mercier) asks her inept brothers-in-law for help in retribution. Getting no joy from the pair, she seeks outside help in the form of fast gun Manuel (Hossein), a loner living in solitude out at a ghost town...

It's dedicated to Sergio Leone, who directs one of the best scenes in the film, contains the Argento factor, so it's not really a shock to proclaim that Leone's influence is all over Hossein's movie.

It's a Pasta Western that operates in the void between the real and the spirit world, deliberately ethereal in tone, even sprinkling dashes of the surreal onto the hearty portion. Dialogue is used sparingly, but not to the detriment of film's quality, and Hossein the director dallies in black and white staging, slow zooms and excellent usage of sound effects.

Much like the dialogue, the violence is pared down, there's no Blunderbuss infused blood laden approach to the evil that men do here, it's all very controlled and in keeping with the tonal flows that Hossein favours. The cliché's of the sub-genre are adhered to throughout, thankfully so, while the finale is suitably melancholic.

Thoughtful, sombre and ripe with blurry ambiguity, Cemetery Without Crosses is comfortably recommended to the Euro Western fan. 8/10

This is a very good eurowestern that will have you in its grip from start to finish.

It is beautifully filmed with lots of desolate wide open desert, and impressive mountain scenery. The film has a feeling of loneliness as much of it takes place in a deserted ghost town which has apparently become the home of the protagonist.

The movie is populated with bitter characters that are primarily motivated by revenge. There are no happy endings here. This definitely wasn't "the feel good movie of the year," which is a good thing. The female lead is a beautiful woman in black with little left to live for other than seeing her husband's killers pay for his death. Her relationship with Manuel, the man she goes to for help with her plan, is a very intriguing one. This is because we are left to wonder what their history is until close to the end of the film when it is finally revealed.

The music score is excellent. The opening/closing theme is a great spaghetti western ballad with vocals. The music during the film is mostly guitar designed to create feelings of suspense and sadness. There's also a touch of organ thrown in for good measure. It all works wonderfully with the film.

This is a high-quality spaghetti western that is riveting and entertaining. I highly recommend this one. If you get the chance to see it, don't pass it up.

Ever since I saw Sergio Leone's The Good, The Bad and The Ugly (1966) and Once Upon a Time in the West (1968) as a child after burrowing into my brother's VHS collection, I've loved spaghetti westerns. It was only in my teenage years that I realised just how many of these films were made - some excellent, some terrible, and some just outright bizarre - and it's been fun tracking down some of the more obscure titles. While not strictly a 'spaghetti' western due to being French (a 'baguette' western as Alex Cox puts it), Cemetery Without Crosses is a stoic curiosity. Clearly influenced by the work of Leone, the film is an existential, near-silent work that is in equal parts hypnotic and plodding.

Humble farmer Ben Caine (Guido Lollobrigida) is chased and gunned down by members of the Rogers family, who are scooping up all the livestock business from the surrounding areas through fear and violence. Ben is gunned down and hanged in front of his wife Maria (Michele Mercier). With her livelihood destroyed and Ben's brothers Thomas (Guido Lollobrigida) and Eli (Michel Lemoine) opting to flee across the border, Maria turns to old friend Manuel (Robert Hossein), a brooding gunslinger residing in a nearby ghost town, for help. Manuel soon infiltrates the Rogers family and joins them on their ranch, where he sets Maria's revenge in motion.

Though more of a homage to spaghetti westerns, Cemetery Without Crosses certainly looks and feels like it was born and reared in Italy. There are a couple of glimpses of brilliance - a familiar scene of intense stare-downs at the dinner table quickly flips into a moment of outright comedy, and the scene in which a character lights a candle to reveal that they are not alone is truly nerve- shredding. But the plot is wafer-thin, so the camera is often left lingering while the characters do little or nothing at all, and the dialogue is especially sparse, even for a spaghetti western. Hossein, who also directed and co- wrote the film with the credited Dario Argento and Claude Desailly (though in reality Argento had no involvement), simply doesn't possess the magnetic presence of Clint Eastwood or Charles Bronson. Exhilarating in bursts but meandering in places, Cemetery Without Crosses is still worth checking out.

Unusual spaguetti western made by Robert Hossein in a beautiful Almeria landscape in Spain, a sort of a homage to Sergio Leone who actually directed a single dinner scene only, Hossein playing a quiet guy who wear a black glove every time he needs use a gun, a wise trademark for a gunman and Michele Mercier as black widow for first time didn't use your sex appeal, on a serious acting, well made french-Italian production, finally something new for this genre!!!This movie just come out in box-set with four movie in spaguetti kind all them remastered with original audio!! Those movies already available in brazilian maket as single release has a bad image on dubbed version, mostly has a fake english audio!!

Resume:

First watch: 2018 /How many: 1 / Source: DVD / Rating: 7.25

From the opening sequence, as a sepia camera lens captures the pursuit of a single rider by a gang on horseback, I just knew that this film was going to demonstrate class. And, although the story itself probably has little to set it apart from many other films within the Euro Western genre, it more than makes up for it with its effective use of camera work and great character portrayal. Yes, this film has class in abundance.

So to the story itself. Having witnessed her husband Ben (a brief but welcome appearance by Benito Stefanelli) executed by the Rogers family, Maria (played by stunning french actress Michèle Mercier) seeks revenge on the killers. Unable to rely on her two oafish brothers-in-law to assist, she seeks help from Ben's best friend (and, as we find out, Maria's former lover) Manuel (Robert Hossein).

Manuel enlists himself as a member of the Rogers gang, enabling him to capture the only daughter. With this prisoner in her custody, Maria has the perfect ransom to deliver a perfect revenge on the Rogers gang. With the scene now set, the bloodshed and twists to the story soon commence.

The character of Manuel is quite unlike any other main western lead that I have seen. Whilst demonstrating an unnerving ability with a gun, there is a definite reluctance to become too embroiled with Maria's plot. His time as a gunfighter by choice has passed - perhaps symbolically shown by him being the sole resident of "Ghost Town". However, his involvement is spurned on by his feelings for her. Hossein, who both played the part of Manuel and directed the movie, plays this solemn and complex character superbly.

Hossein's direction is really eye catching too, with the camera work demonstrating more than a little nod in the direction of a certain Mr Leone (to whom there is a suitable credit in the end title sequence). This is no copycat Leone film however, and firmly stands up on its own merit. Less is definitely more, as the opening scene proves (it must be a good ten minutes before there is any real dialogue. And in reality, when the picture is this effective words are not needed).

In summary, don't be put off by the simplicity of the story, as the way that this film is crafted makes such an issue completely irrelevant. It can stand quite proudly in that top echelon of Euro Westerns, and quite possibly a perfect introduction to the genre to those that have purely seen the Leone movies.

Cemetery Without Crosses (1969)

*** (out of 4)

Manuel (Robert Hossein) is asked by his former lover (Michele Mercier) to seek out the men who murdered her husband. The gunslinger agrees to take the job so he gets some help and heads out to take the gang down.

CEMETERY WITHOUT CROSSES was a French/Italian co-production that has gained much popularity over the years because it's basically a love letter to the style of Sergio Leone and the film is even dedicated to the legendary filmmaker. Hossein not only stars in the picture but he also directed it as well as co-wrote it and for the most part it's a pretty good entry for the genre. Is it in the same league as Leone? Of course not but this is certainly worth watching.

The screenplay, which included Dario Argento as a co-writer, isn't all that original but what I enjoyed the most about this picture was the style. There are several long stretches where there's not a single line of dialogue spoken. There's often a lot of noise whether it's sound effects or the music score by André Hossein blaring and this allows the terrific cinematography to come to life. The camera just floats from one shot to the next with the sound effects really taking your mind off everything that is going on. This often time leads to a nice surprise with one of the best examples being a scene at the diner table.

You're watching a group of men eat and we hear the sound of them chomping and then out of nowhere there's a little surprise that really works well. I won't ruin the ending but it too was quite effective because of the set up and how the director shows the final shoot out. Both Hossein and Mercier are very good in their roles with Hossein obviously trying to copy the Man With No Name role. CEMETERY WITHOUT CROSSES is a well-made little film. I think there's more style than substance but that's really not a problem here.

Robert Hossein (who also co-wrote and directed) is a brooding, ghost town dwelling sharpshooter who, for either love or money, seeks vengeance against the family who apparently stole stole an ex-friend's livestock (or were they already stolen?) and hung him for trying to get them back.

One of the most cynical and grim of the Euro-westerns, this is fairly stylish, told with a minimum of dialog. It has the look and feel of a spaghetti western. However, the film owes a bit more in terms of storytelling to it's French half.

As far as the movie goes, Cemetery Without Crosses was offbeat and definitely worth watching, though I didn't find it as brilliant as others make it out to be.

Really puzzling is the writing credit issued to Dario Argento. If he didn't co-write the film, then why is his name on it? Does anyone else say otherwise?

Made in 1969 by Robert Hossein who directed this and stars as Manuel – a gunman who has lost his will to fight. Then Michele Mercier as Maria Caine turns up and ask for his help; her husband and his friend has been hung by a gang of ranchers who are a notorious family. She wants justice – but her kind and not the sort dished out by a judge.

He then gets embroiled in a kidnap plot and all bets are off as to how this is going to pan out. Now this is dedicated to Sergio Leone who also makes a cameo appearance. It is screamingly sixties in style – with the music as jarring as it is effective. It is all in English but has that seventies Italian feel for sound recording that makes it sound dubbed. The acting is so straight that it seems forced at times; but that belies the very real undercurrents of what is really going on.

Things are communicated without being said and a look can convey emotions that pages written by a bard would leave unmolested. Some have commented that the pacing could have been better; but you need time to take in what is actually happening under the surface and this is the sort of film where you will spot more on subsequent viewings. It is high time someone made a release of this and much plaudits to Arrow for so doing. This is one for fans of the genre and for those who just love a good old western – not made in the West obviously, but not lacking in any way because of it – seriously recommended.

An ex-gunfighter living in a ghost town in the Southwest (Robert Hossein) decides to assist the wife (Michèle Mercier) of a friend that was unjustly lynched by the rough ruling family of the area, the Rogers.

"Cemetery without Crosses" (1969) is a Euro Western (French / Italian / Spanish) originally titled "A Rope... a Colt..." (translated). Director/writer/star Robert Hossein was admittedly inspired by Sergio Leone and you can see the influence of "For a Few Dollars More" (1965). Speaking of which, one of the best scenes in the movie, the amusing dinner sequence at the Rogers' ranch, was guest-directed by Sergio Leone.

This is a competent Spaghetti Western with a quality score, the usual Spanish locations and a good cast with three beautiful women (Mercier, Anne-Marie Balin & Béatrice Altariba). I like the serious tone, the ambiance and attractive cinematography, but it's too flat of an experience, disregarding the dinner scene. Simply put, it becomes one-dimensional and tedious as it moves along.

"The Hellbenders," aka "The Cruel Ones" (1967), was less proficient, but at least it entertained. "Doc" (1971) is a good comparison, but it had a superior cast and way more perks. Even "Navajo Joe" (1966) is more memorable IMHO. But if you like Euro Westerns give it a try. Some cinephiles rave about it.

The film runs 1 hour, 30 minutes, and was shot in Almería, Andalucía, Spain.

GRADE: C+/B-

Cemetery Without Crosses: a film that I have been chasing for a number of years for my DVD collection...never saw it previously. Well worth the wait...a film that stands up extremely well against the better non-Leone spaghetti westerns (Great Silence, Big Gundown, Bullet for the General, Day of Anger,Face to Face, etc) and at least as well against a Fistful of Dollars. Beginning: sepia toned, without any dialogue, three men on horseback are being chased by about 10-15 men...from the beginning, it is obvious one of the three being chased will not make it...then titles, credits, and color to the movie... A third into the movie, we come to a ghost town where our protagonist dwells...he plays roulette against himself...a former flame comes to the town and asks for his help in obtaining a measure of revenge...don't do it, he cautions... In the middle of the movie, our protagonist sits and eats with the family and employees of the men doing the chasing in the beginning of the movies...silence...knowing glances...something is about to happen... Two thirds into the movie: a woman is kidnapped and raped...tries to escape...the remaining two men who were chased in the movie are kidnapped themselves, beaten... End of Movie: the final, obligatory shoot-out... Questions abound...symbolism heavy...stayed with me a few days...well worth the journey...oh, the photography is excellent, as is the music, and there is a cameo performance by Sergio Leone himself... Very underrated film...

The qualities inherent in this Spaghetti Western have more to do with its uniqueness rather than for any outstanding merit: the film, in fact, is a French-Italian co-production (albeit co-scripted by none other than Dario Argento!). Also unusual is the fact that the movie was helmed by its own leading man – incidentally, the two stars (Hossein and Michele Mercier) had just finished the 5-picture "Angelique" series, which is currently being re-proposed on Italian TV (I've recorded four of them so far but have yet to watch any). Of the remaining cast members, I was mainly familiar with Michel Lemoine (perhaps best-known for playing the Mephistophelean figure in Jess Franco's SUCCUBUS [1967] and who would himself graduate to direction with the likes of SEVEN WOMEN FOR Satan [1974]); though his character isn't given any distinguishing features, the actor's odd looks are enough to give an offbeat tone to the traditional Western garb and settings.

The plot – a running feud between two factions, with each of whom the laid-back and detached ex-gunfighter Hossein becomes involved – is quite typical and straightforward; actually, the hero had been Mercier's flame but the latter eventually married another man, who turned out to be no good…though she's determined that the perpetrators of his death be punished, which is why she now turns once more to Hossein (living a hermitic existence in a nearby ghost town!). In direct opposition to the "Angelique" films mentioned above – where the sensuality of Mercier, one of the loveliest starlets of her time, was given center-stage – here, she deliberately chose to be deglamorized (not only forced to bury her husband all by herself but being physically manhandled by the villains at the end). Anyway, Hossein joins the other side – ostensibly as a rustler – but subsequently kidnaps the patriarch's daughter for purposes of ransom; on the other hand, they retaliate by beating up the two brothers (Lemoine among them) of Mercier's husband. By the time it's all over, unsurprisingly, there are bodies lying everywhere – even the stars get it (with Hossein giving himself a particularly ironic demise)!

Much of what's admirable in the genre at its best is evident here as well: laconic dialogue, good action (ominously donning a glove before engaging in shoot-outs, Hossein's gunplay is so quick as to border on the invisible!), terrific score (by the director's father Andre'!) and an evocatively grubby look (the opening and closing moments, then, are given an added dimension by being presented in sepia); interestingly, Hossein dedicated the film to his friend (and undisputed master of the genre) Sergio Leone!

I'm a little less enthusiastic about this second time around. A few years back it seems I said: A fine film with solid performances and strong driving force. Not particularly violent but assured with great look and super soundtrack. Nothing very outstanding but never a dull moment, its as if this is going nowhere but is unstoppable all the same. This seems a bit generous because to be honest for a film with such a slight story this is fairly confusing. That can only be due to lack of directorial/editorial skills and presumably must be down to the inexperienced Robert Hossein. The Frenchman brought his Angelique co-star Michele Mercier with him here and she is particularly effective. The film is usually mentioned in the context of it being French, despite being filmed in Algeria, Spain with Italian crew, and the involvement to a larger or lesser extent of Dario Argento (little bits of dialogue) and Sergio Leone ( a rather protracted dinner scene) but is probably best described as a tale of revenge that doesn't go where it should with a whiff of the existential hanging over proceedings.

The film opens with a number of men furiously riding horses, less than clear at first that some are pursuing others. The horse riding remains the film's top asset throughout, the convoluted and unclear aspects never leave the film.

In a sense, that facet reflects Director Robert Hossein's own mixed talents: he is best known as actor but directed 24 films in total, including films noir, horror, this Western and other. Here he plays a gunhand called Manuel (why that name? Anything to do with Emmanuel being another name by which Christ is known? If so, Hossein portrays a fast-killing Christ!)

To be candid, I liked the horse riding, the sharp silences and eye glances but after several repeats I began to feel annoyed every time he put on a black glove on his right hand to snuff his next target with his left. What that meant, I have no idea.

What the black-clad Michèle Mercier riding a horse-drawn carriage really wants and why she has such power over the otherwise unyielding Manuel... no idea either.

Heroes and baddies are tough to tell apart, why Manuel frees a large number of horses belonging to a rancher who gave him the job of foreman also skimmed over my head... as did the ending, achieved by a comely green-eyed beauty.

Better, more objective than most spaghetti Westerns, but with some irritating aspects. Solid cinematography from Henri Persin, interesting instrumental score by André Hossein. 7/10.

AS others have stated, a minimalist western that has a unique look. The 'Ghost Town' is awesome, the mood is downbeat throughout. Unusual in it's over-all 'look'. I liked it very much. It certainly is different from the norm in a lot of ways, the music is superb, the acting is good esp. Hosssein's black clad leather gloved gunfighter.

Recommended for Italo / Euro western fans. Not recommended for a new comer's introduction to Spaghetti Westerns simply because it falls far outside what would be considered a 'typical' spaghetti western in execution / form & characterizations. The French influence is clear & not a bad thing IMO.

BTW the Rancher's blonde daughter is incredibly hot too bad she didn't get more scenes. However her role is pivotal to the film's course.

I have this one in my collection & IMO certainly in the top 20 Euro westerns ever made. It is a 'horse of a different color' however & not for everyone.

only a different western. using the classic rules of genre. but who could not be reduced at this rules. because it is a gray, silent, precise story. like a Mediteranean story of justice and revenge. because the meet of viewer with Michele Mercier and Robert Hossein has nothing with the memories about Angelique series. because Michele Mercier gives a character, with each subtle nuances, remembering more the Greek tragedies than a western. because the cinematography is great. and the story has a special flavor. a film a bout duty and love. clear, precise, special.

Overall, this one was unexpectedly good. Having seen all of Leone's work, most of Corbucci's, and a decent amount of lesser-known spaghetti westerns, I went into this one not expecting a lot. It has a great opening scene and is obviously well-written (Thanks Dario.) The main theme is a little different than other Italian westerns. More similar to an American western in plot. I wanted to see a little more violence, but it's got a few shootings and the ones it does have are awesome.

A little tame, but very entertaining overall. A must see for Argento fans.

7 out of 10, kids.

After the worldwide success of Sergio Leone's "A Fistful of Dollars" (1964) and "For a Few Dollars More" (1965), Robert Hossein, an honorable French actor and director which had a previous Western "The Taste of Violence" (1961) in his credits, is trying one more time his luck in the same genre. The music, signed André Hossein (father of Robert Hossein) it's a reminiscent of Ennio Morricone's music from Leone's films. Benito Stefanelli, who played in the two aforementioned films of Leone, has a role here too. The same José Canalejas, Lorenzo Robledo, Álvaro de Luna. Many other elements of Leone's movies are present in this Cemetery Without Crosses (1969) too, Michèle Mercier is dressed and even resembles Marianne Koch from A Fistful of Dollars but, however, despite the charm of the two main actors, Hossein and Mercier (they have been together also in the successful "Angélique" series), the film is a total failure. So, I'm sorry Mister Hossein, I love you very much in many other films but, this one is not spaghetti, c'est de la merde.

cemetery without crosses(aka the rope and the colt) is one of the best spaghetti westerns out there. it is up there with THE GREAT SILENCE. wonderful film. i must warn u however... there is not a lot of shooting going on here like most spags. in fact the kill count is 16(which is unheard of in this genre). but the story is tight and it moves in a nice pace. one of the few spag westerns that actually feels like a Leone film(though a poor mans Leone). wonderfully shot. the main character hangs out in a ghost town. let me tell u this is the best ghost town i have seen in any film. the only thing wrong with the film is one scene where the main character is sitting at a dinner table and everybody starts looking at him. and this goes on for a while. until finally it is revealed as to why they were staring. it wasn't really worth the 2 minutes of silence just to get the "punchline". other than that a this is definitely on my top ten spag list, if not then an early teen list.

(1969) Cemetery Without Crosses/ Cimitero Senza Croci (In Italian with English subtitles) SPAGHETTI WESTERN

Co-written, directed and starring Robert Hossein. It opens with gunmen led by Will Rogers (Daniel Vargas) chasing an outlaw, Ben Caine (Benito Stefanelli), and he rides until he reaches to his ranch, when his wife, Maria Caine (Michele Mercier) comes out, and she is prevented to come near him by Rogers gun men. And she watches helplessly as they hang him by a tree nearby. Meanwhile, some place else are two men, Thomas (Lee Burton) and his little brother, Elia (Michel Lemoine) as they begin to show up at Maria's place just as Maria had just finish burying her husband, Ben and they begin to help themselves inside her place and they begin to divide up the money. We find out that they all already know each other and that the person, Ben the Rogers gang had hung are related to the two guys that showed up. That they were all brothers and had just stole money from the Rogers family. After the two bothers Thomas and Elias leave, she then takes her husband's share and rides out with a horse carriage toward an abandoned ghost town. It is there is where she meets a single person, we find out who happens to be the star of the movie, Manuel (Robert Hossein). And she manages to convince him to avenge her husband's death as both Manuel and her husband Ben used to be really great friends.

This is another one of those movies that dwells on metaphors, twists, look and tone than it does on action where viewers are already aware about the objective as soon as Manuel accepts her husbands share of the money in exchange is to exact revenge on the men who murdered Maria's husband. Viewers do not know how as main bad guy, Will has many outlaws with him as well as sons. And does this by kidnapping the daughter. Some of the scenarios that did not make a tone of sense is that the two men who divided up the share had suddenly become more greedy when at the opening of the movie, it appeared that they were happy with the share that each of them had, and wanted more. And viewers who are sensitive with animal killing, might be grossed out by a scene of an actual rabbit killed and then prepared!

I'm certainly the first one not to join the incredible chorus of praises.But seriously folks !Robert Hossein's forte has always been the thriller,the film noir, and several of his efforts are really worthwhile ,particularly " Toi Le Venin" "Le Jeu De La Vérité" and "La Mort D'Un Tueur";westerns are a different matter.

Just before this spaghetti-western (it's rather a French fries western ,by the way) ,he and his star Michèle Mercier hit the big time with the five "Angélique Marquise Des Anges" movies .

"Une Corde Un Colt" is a bad idea gone wrong;in France it got unanimous thumbs down .The cast is essentially French and (for a French),it's impossible to believe in their "characters" .The production is the poorest of all Hossein movies ,being thin and lacking any real positive (or negative) energy.A "visual " western it may be (with a dozen of lines),and they even hire "Angélique"'s cameraman ,Henri Persin,but there's nothing really visually beautiful to film.

André Hossein,Robert's brother ,provides the score,as usual,and it's rather nice,although a bit anachronistic ,sounding late fifties/early sixties