I quattro dell'Apocalisse

Utah, 1873. A young card-sharp named Stubby Preston arrives in a small town called Salt Flat. On his arrival, the town sheriff (Donald O'Brien) throws him in jail with 3 petty criminals - a pregnant prostitute (Frederick), a hopeless drunk (Pollard) and a mad black slave (Baird). That night, KKK-masked gunmen wipe out most of the town, and the next night, the four are put on a cart and forced out of town, into the bandit-filled wilds. One such bandit (Tomas Milian) forces himself upon the group, soon revealing himself to be a wicked sadist. After kneecapping Pollard, raping Frederick and torturing the other two, Testi swears revenge if he is left alive. Milian heads off, and the four characters set out to follow their dreams and destinies - in Testi's case, a slow, violent death for the bandit...

This unusual, horror-tinged effort suffers from slow pace and some awful music ballads, as well as Frederick phony Transatlantic accent. Where it does score highly, is in the 'feel' of the film. Sergio Salvati's photography is superb, and really presents the Old West as a desolate wasteland where only the most ruthless will survive. Also, Milian's villain is superbly evil, and there are some excellent action sequences, such as the opening purge of the town, and Testi's score-settle.

Some of the violence is truly shocking, and all prints of the film were cut down - Milian gouging into a man's stomach with a knife after pinning a sheriff's badge into his chest (commonly seen in stills), and some of Frederick's harrowing rape ordeal.

Don't get the Swedish Sun Video entitled 'CHACO' - it's heavily cut down. This version misses out some gory bullet-hits at the start, much of Milian's torturous antics (including him stamping Testi's testicles), and Testi cutting Milian's face open with a razor. The most complete version available at present (though it still misses out the pre-studio cuts described above), is the Japanese AT International tape.

Even with what does remain, it's a nihilistic, grim piece of work, and remains one of the most violent of the Spagwests. It's a shame that Fulci, after this and the excellent MASSACRE TIME, would disgrace himself with his third western effort, the limp SILVERSADDLE.

Director Lucio Fulci is most (in)famous for his ultra gory horror movies, such as Zombie Flesh Eaters, however, as with others such as his psychedelic giallo A Lizard in a Woman's Skin, this one shows once again that Fulci was in fact an excellent director. Sure, it does showcase the violence and brutality he is known for but it also is surprisingly emotional too, with actual three dimensional characters, which is hardly a given for this kind of thing. The story has four petty criminals meet in a jail and then trek across the desert, where they encounter various obstacles including a very sinister Charles Manson like bandit played excellently by Tomas Milian. The storyline and characters mainly avoid the typical spaghetti western cliches, with Fabio Testi's central character pretty far removed from the usual loner with incredible weapons skills. Also atypical is the score which is nothing like a Morricone bells and whistles affair, surprisingly it sounds more like Pink Floyd! This one also has a good turn from Lynne Frederick as one of the title characters, along with No Blade of Grass, Phase IV, Vampire Circus and Schizo this one makes up the Lynne Frederick 70's cult quintet.

I appreciate the DVD for this film very much. It seems that the original American version was not the same as the Italian release. So, in this restoration, the missing bits have been added. But, since it was so many years later that it was reassembled, the new portions have captions--not dubbed like the rest of the film. Some may dislike this, but I like that you can note what was and wasn't in the original release.

The film begins with four small-time misfits sharing a jail cell--a gambler (Fabio Testi), a pregnant prostitute (Lynne Frederick), a drunk (Michael J. Pollard) and a crazy man (Harry Baird). They are eventually thrown out of town and find themselves in the inhospitable countryside. Considering how hot and dry it is, it seems that their troubles MAY be over when they meet up with a hippie-esque guy named Chaco (Tomas Milian). Chaco is amazing with the gun and soon they have plenty to eat and they have every reason to be happy. But the gambler seems to reserve his judgment here--and soon you learn it's for good reason. Chaco is a maniac--and he soon begins terrorizing them and quickly kills a posse looking for him. Now, all trussed up, the three friends can only sit back when Chaco rapes the lady. He then leaves them to die--without horses and in the middle of nowhere. What's next? Well, watch the film--as there's a lot more to follow in this odd little Italian western.

Although I enjoyed this film, it had a very sloppy quality about the film. Continuity was often a problem. In one case, it's warm and they're in a desert when a woman goes into labor--suddenly they're in a snow-filled town! Also, the women appears through most of the film to be, at most, 4-5 months pregnant--then gives birth to a healthy baby. It's also NOT a film for kid--with lots of blood, rape, unintentional cannibalism and more! The thing that bothered me most, however, was the awful hippie-style music with the dreadful singing--very sappy and very 1970s.

But there also was quite a bit to like. The film, at times, had some real heart. I liked the portion set in the mining town--the miners were great characters and offered a nice contrast to all the violence early in the film. Also, the character development of several in the film (such as the gambler and the drunk) was nice--very nice. An oddly moving film that, with a bit of editing and cleanup, could have been a classic.

By the way, I did think it was odd that the western began in a lawless town in Utah. I am sure there were some, but considering Utah was mostly filled with Mormons at that time, this did seem a bit unlikely. Also, the prostitute (Lynne Frederick) was once married to Peter Sellers as well as David Frost. This beautiful lady died very, very young--apparently from the effects of drugs and alcohol.

Quattro dell'apocalisse (original title) is a bloody Spaghetti Western with usual Mexican desperado Tomas Milian who steals the show as a merciless bandit and filmed , of course , in Almeria . An Italian production full of action , exaggerated characters, shootouts and lots of violence . For money, for pleasure, for revenge, he doesn't care why he kills or how ¡ ... A group of misfit characters are taken prisoners by the Utah Sheriff (Donald O'Brien) but later they are freed . Four petty criminals, three men , a card player named Stubby Preston (Fabio Testi) , a drunk (Michael J. Pollard) , a crazy African-American (Harry Baird) obsessed with the dead and a pregnant prostitute (Lynne Frederick) , wander through the trackless terrain of the Wild West and are hounded by a hearless outlaw who rapes , slashes, ravages and murders each person involved in his attacks . The quartet looking for food, water is submitted a tempestuous trap by evil Mexican bandit and receive violent knocks, punches, kicks and wounds . The group sees the atrocity over a Mormon family and Stubby Preston executes a single-handedly revenge . He is relentless in his vendetta , deadly in his violence. The conflict is a simple one between avenger , swindler Stubby and oppressors, nasty bandits commanded by cruel outlaw named Chaco .

It's an exciting and tragic western with breathtaking showdown between the protagonist Fabio Testi against the sadistic Tomas Milian and his hoodlums . In the film premiere attained bit success , nowadays is best valued and I think it turns out to be a good Spaghetti Western. The Cuban Tomas Milian as a cruelly baddie role is terrific , he is fine, he cries, ravages the screen , shoots, hit and run and kills . The film packs violence, gore, gun-play , high body-count and it's fast moving and quite entertaining . There is plenty of action in the movie , guaranteeing some shootouts or stunts every few minutes . Appears S. W. usual support cast as Bruno Corazzari , Charles Borromel , Donald O'Brien , Lorenzo Robledo , all of them turn up in multiple Italian/Spanish Western productions . There are many fine technicians and nice assistants as Goffredo Unger, also secondary , habitual master of arms in numerous Spaghetti Western. Good production design creating an excellent scenario with luminous outdoors, dirty and rocky landscapes under a glimmer sun and a fine set on Austria , Desierto de Tabernas, Almería, Andalucía, Spain and Elios Studios, Rome, Lazio, Italy (studio) . The soundtrack is full of sensible songs and sad ballads , furthermore haunting musical leitmotif . Striking cinematography in Eastmancolor by Sergio Salvati , Fulci's ordinary .

The motion picture is realized by one of the most controversial filmmakers of terror movies , Lucio Fulci in his usual style with some flaws a but is professionally made because he is a skilled craftsman . He creates a strange Western that manages to be both scary , tragic and skilfully made . Reviewers are divided over booth the morals and talents of Fulci (1927-1996) who sometimes directed under the alias ¨Louis Fuller¨. For some critics many of his movies are gore-feasts that tried to be disguised itself under many other titles , were cruel and shockingly violent, yet their gory surface often conceals religious, social commentaries or intelligent issues. Whether he should be viewed as a cheap sensationalist or just a genius Fulci has a loyal fan base and undeniably has an important and unique influence on the terror genre , creating great works on a low budget and deserving its cult status such as proved in ¨ The black cat ¨, ¨Manhattan baby¨, ¨Gates of Hell¨, ¨Island of the living dead¨, ¨New York ripper¨ , among them. ¨Four of Apocalypse¨ is one of his more imaginative Western , Fulci also directed another Spaghetti as ¨white Fang¨, ¨Challenge of White Fang¨, and ¨Massacre time¨. It's just one passable Western and acceptable budget movie that still packs a punch for those who like to be entertained out their wits . This peculiar Western will appeal to Lucio Fulci aficionados .

Four lowly criminals that meet in jail; card shark Stubby, pregnant prostitute Bunny, a drunk Clem and the loony Bud manage to escape a vigilante slaughter of the town they were in and end up on a rugged journey in the open frontier. They soon encounter the Chaco, but after helping them out. He soon turns on them, with his sadistic habits coming through and they find themselves at the other end of it. After raping Bunny, Stubby's increasing feelings for her, makes him vow vengeance on Chaco.

Apocalyptic to-right! This cruel, sparse and bleakly nightmarish spaghetti western from Italian maestro Lucio Fulci is one uncompromising trek, where four unique individuals end up guiding us. The episodic screenplay pulls you along for one emotionally domineering and pain-filled excursion into the souls of four (very ordinary) characters longing to make something important from their lives, especially after what they've been through… together. This destiny-bound aspect and redemption angle takes over the odd story, where these rag-tag characters are flung around in manipulative sense and realistically drawn up with rich, quirky and sullen details. It tries to be a passionate and diverse character story, and this makes it one interesting and downright original crack at the flooded sub-genre. I see mentioned a bit, Why's apocalypse in the title? I see this as a reference towards the characters' and their final outcomes. Hope just seems to fade off their faces, after one degrading, macabre and tragic situation after another in a reprehensibly desolate land that can easily break you and take away the things you hold close. Everything that was significant is stripped away, which leaves only one thing on mind for one character… revenge. Tomas Milan's scummy character is the main tool of that torturous downfall.

Fulci is one never to shy away from something in your face, and this one has no boundaries to its depressing nature, relentless violence and unsparingly gritty landscape. His patiently accomplished and pastel direction can feel plodded, but he gracefully lenses it with gusto and the up-close and personal framing illustrates many moody sequences. He knows how to depict haunting images, rough landscape and brutal carnage to fit right in with the film's material and destination. Despite a pretty bumpy rhythm, Fulci keeps it tight and ominous for most part. The opening scenes set the appropriate tone of what's to come and even a slight sense of surrealism. It's technically, a good job. The open and breezy ballad folk soundtrack is a complete delight and gels into the presentation nicely. Performances from the main four are sensitively brought across with a compelling rapport. Fabio Testi's strong performance all round carriers the film. Lynne Frederick is beautifully touching. Michael J. Pollard's screwy town drunk amuses and Harry Baird is fine as the loony black slave. Competing with Testi's performance has got to be the memorably brooding performance of Tomas Milan. He chews up the scenery in what few sequences he does get, as the pitilessly striking bandit Chaco.

The sub-genre was coming to an end, and while Fulci's effort was very late to the fodder. He manages to craft Gothic-laced spaghetti western that has heart within its narrative and guts found in the visuals.