Minnesota Clay

As a huge lover of Italian Westerns, Sergio Corbucci is one of my favorite directors ever. Corbucci's most famous and influential film is doubtlessly the blood-soaked cult-flick "Django" of 1966, his most brilliant achievement is the dark 1968 masterpiece "Il Grande Silenzio" ("The Great Silence"). But Corbucci enriched the Spaghetti-Western genre by even more masterpieces than the aforementioned two films, such as the Mexican revolutionary Westerns "Il Mercenario" (aka. "The Mercenary", 1968) and "Vamos A Matar, Compañeros" (1970). And even his lesser known films, such as "I Crudeli" ("Hellbenders", 1967) or "Navajo Joe" (1966) stand out as gritty and great Spaghetti Westerns, which makes Corbucci the undisputed number 2 in the genre, right after Sergio Leone. This being said, Corbucci's early Western "Minesota Clay" of 1965 does not live up to his later films in the Genre. While this is by no means a bad film, it is nowhere near as cynical, gritty and memorable as Corbucci's later Westerns were, as it bears more resemblance to the traditional American 'Good Guys Vs. Bad Guys' Westerns than the masterpieces of Corbucci's later career.

The eponymous hero, Minnesota Clay (played by the great Cameron Mitchell) is not really a typical anti-hero, as he is looking partly for revenge, but mainly for justice and for an opportunity to redeem his name. The two rivaling gangs (Mexican vs. American) that control the little town where this is set resemble the premise of "Django" as well as Leone's milestone "Fistful Of Dollars" (both of which were based on Akira Kurosawa's masterpiece "Yojimbo"). Yet, "Minnesota Clay" can not nearly make as much of it as "Fistful..." and "Django". Since the aforementioned films are masterpieces, this is not to say that this film is bad, however. "Minesota Clay" is an entertaining film, without doubt. The film's main fault is probably the lack of a real anti-hero with hardly any morals. If the film had just been a little more 'evil', it could have been way better. Even though a tough guy, Minesota Clay is basically an honest man who is looking for justice, and not nowhere near as immoral as anti-heroes like The Man With No Name or Django. Yet, Cameron Mitchell gives the character a certain greatness. I've been a fan of Mitchell since I first saw Mario Bava's Giallo-milestone "Sei Donne Per L'Assassino" (aka. "Blood And Black Lace", 1964) years ago, and he once again delivers a great performance here. The sexy Ethel Rojo and Diana Martin make a nice-looking female cast and the supporting cast includes Spaghetti Western regulars Antonio Casas ("The Good, The Bad And The Ugly"), Fernando Sancho ("The Big Gundown") and Gino Pernice ("Django"). As mentioned above, this film often resembles a traditional American Western - only with a bit more violence and Spaghetti-style. The locations and photography are great and the score by Piero Piccioni is also quite nice. Overall, I would have probably rated this a 7/10 as such, but I have to detract one star as it is way inferior compared to Corbucci's later films. This is an entertaining film that my fellow Spaghetti-Western-freaks should enjoy, yet I recommend everybody to see some of Corbucci's other films before. Especially "The Great Silence" and "Django" are essential. My opinion on "Minesota Clay": 6.5/10

Corbucci's second Spaghetti Western is an improvement on the first – MASSACRE AT GRAND CANYON (1965) – but still a long way from his best efforts in the genre (namely DJANGO [1966] and THE GREAT SILENCE [1968]). The leading man is Cameron Mitchell, who wisely opted to appear in European films tackling starring roles rather than be stranded in Hollywood playing poor supporting ones; that said, he was also featured in a fine 'B' Western by Monte Hellman – RIDE IN THE WHIRLWIND (1966) – alongside rising star (and screenwriter) Jack Nicholson! The narrative provides many typical Spaghetti Western elements but, as I said, it's an early example yet – so that it lacks the baroque touches inherent in later outings (suffice to compare Corbucci's relatively sober treatment here to the tongue-in-cheek approach to the same concept in the self-explanatory BLINDMAN [1971]!).

Here, as in his two better-regarded genre classics, Corbucci gives us a hero – his name probably derives from Jackie Gleason's character, Minnesota Fats, in the pool-room drama THE HUSTLER (1961)! – who has to battle not just the villains but a physical ailment (he's slowly going blind). Besides, he has a daughter who thinks him dead – and he's willing to offer her his protection, while remaining silent about his paternity (only at the climax, when the villain callously exploits his condition by putting the girl in Mitchell's line of fire, does he confess to their kinship!).

Spaghetti with Chorizo Western filmed in Spanish location as La Pedriza ,Manzanares Del Real and Colmenar Viejo and interior scenes shot in usual Italian scenarios called Elios studios. It deals with an inmate wrongfully imprisoned for twenty years for a crime he didn't commit and escaping from jail . As Minnesota Clay (Cameron Michell) takes prisoner a lieutenant (Julio Peña) and seeks revenge on the man who withheld evidence at his trial and arrives in a town ravaged by a sheriff and bandits . The gunfighter enemy is Fox (Georges Riviere), who nowadays results to be the Sheriff of a little town who himself terrorises the villagers . At the beginning Clay rescues a woman from bandits , she is named Stella (Ethel Rojo) a gorgeous but devious woman . Later on , Clay is imprisoned by outlaw Ortiz ( Fernando Sancho) and also townsfolk is living in terror of his band . In the middle of these two waring parties is Clay's daughter named Nancy (Diana Martin) who thinks her father is dead . The gunslinger enters the town caught between two feuding factions, a nasty sheriff and a gang of Mexican bandits, and is caught up in a struggle against them. But here is a problem however, Clay is going blind.

The film packs violence , shootouts , high body-count and it's fast moving and quite entertaining . There is plenty of action in the movie , guaranteeing some shoot'em up or stunts every few minutes . It's an exciting western with breathtaking showdown between the starring Cameron Mitchell and his enemies , Geoges Riviere and Fernando Sancho . The movie contains gun-play, action Western , thrills and bloody spectacle . This interesting theme about a blind gunslinger is also treated in other films such as ¨The blind man¨ by Ferdinando Baldi , ¨An eye for eye¨ by Michael Moore with Robert Lansing and ¨Blind Justice¨ by Richard Spence with Armando Assante . In ¨Minessota Clay¨ appears as secondaries the habitual in Spanish/Italian Western such as Jose Luis Martin , Simon Arriga , Alfonso Rojas , Antonio Casas ,Alvaro De Luna and Guido Pernice , many of them usual in Corbucci films . Special mention to Fernando Sancho in his ordinary role as fatty Mexican bandit and in a cruelly baddie role , he is terrific, and bears a hysterical and mocking aspect , subsequently he would play similar characters . The movie gets the ordinary Western issues, such as avengers antiheroes , violent facing off , quick scenes and exaggerated baddies . It's an improbable blending of standard Western with pursuits, high body-count and it's fast moving and quite entertaining. An interesting casting full of usual Spaghetti make this oater well worth the watching . Mediocre cinematography by Jose Aguayo , Luis Buñuel's customary , but is necessary a perfect remastering , being the copy washed-out .

Screenplay with interesting premise about a 'blind gunfighter' is written by Corbucci and Jose G . Maesso , also producer ( he produced several Western as ¨The ugly ones , Minnesota Clay , Django , A train to Durango , Hellbenders¨) . Sergio Corbucci's direction is acceptable , he made numerous Spaghetti classics . Direction is well crafted, here Corbucci is more cynical and violent and less inclined toward humor and packs too much action , but especially this moving Western contains broad violence specially on the character played by Georges Riviere . The other Sergio made several Western classics as ¨ Django¨, ¨The great silence¨, ¨The specialist¨ , ¨The Hellbenders¨ , ¨Navajo Joe¨ , and Zapata Western as ¨The Mercenary¨, ¨The Compañeros¨ and ¨What am I doing in middle of the revolution¨ . In addition Sergio directed other inferior S.W. as ¨Far West story¨ ,¨Johnny Oro¨, ¨The white the yellow an the black¨ , ¨Massacre at Great Canyon (his first Spaghetti) ¨ and ¨Minnesota Clay (his second Western)¨. Corbucci makes a nice camera work with clever choreography on the showdown , fighting , moving shootouts and bemusing scenes . It's an offbeat , surprising and uneven Western but will appeal to Corbucci aficionados . Rating : 6 , riotous Western in which there's too much action and violence and enough excitement .

"Minnesota Clay" (1964) was one of the earliest Spaghetti Westerns directed by Sergio Corbucci; in two years time he would make the iconic and notorious "Django" and in 1968, he made the best non-Sergio Leone Spaghetti: "The Great Silence". But this is early days for the director, before cynicism and boredom seeped into his love of making Westerns. Shot around the same time as Leone's groundbreaking "A Fistful of Dollars" (1964), but released later, it shares the two gangs warring over a town theme, as well as the bandits being separated by race: the white, American Fox (Georges Riviere) and the Mexican Ortiz (Fernando Sancho); but this is the only similarity (which had been copied from Akira Kurosawa's samurai film "Yojimbo" [1961], which in turn had been inspired by the pulp writings of the brilliant Dashiell Hammett and his novel "The Glass Key" [1931]) and while nowhere near the greatness of Leone's Western, this is still a remarkably good movie.

The plot (by Adriano Bolzoni and Corbucci) though, is clichéd ridden: Minnesota Clay (Cameron Mitchell) escapes from prison after being framed by the devious Fox; returning to his hometown, Clay discovers that it is overrun by two gangs: Fox's and Ortiz's and then proceeds to clear the place up, even though his eyesight is failing terribly.

However, despite these script constraints, Corbucci directs some brilliant action, in particularly the climatic gunfight in the dark. He seems to be having fun with scenes like this, and it's not hard to see why. Riviere and Sancho honourably excused, the acting is mostly very poor. Mitchell is variable throughout, although his performance during the finale is very good. The music by Piero Piccioni is however, excellent and the photography by Jose Fernandz Aguayo is also pretty good. It may be finally floored, but this is still a worthy addition to the Spaghetti Western genre.

Now Minnesota Clay is one fast guy with a gun. Possibly the fastest in the world. Unfortunately he is also slowly losing his eyesight, with his vision now so impaired that one more punch could cause complete loss of sight.

The movie begins with Clay (Cameron Mitchell) escaping from imprisonment, and intent on getting revenge on the man who set him up. The man in question is Fox (George Riviere), who has appointed himself as the Sheriff of Clay's hometown and abuses this power, with the townsfolk living in terror of his gang. They had initially paid Fox to protect them from bandit Ortiz (played by the ever excellent Fernando Sancho), who himself terrorises the town. In the middle of these two waring parties is Clay's daughter, Nancy, who believes her father is dead, and thinks Clay is merely a local hero. They are reunited, but caught in the crossfire between the two gangs, co-ordinated mischievously by Estella (Ethel Rojo) who is as devious as she is beautiful (and my is she beautiful!).

Minnesota Clay is one of the earliest Spaghetti Westerns, directed by a pre-Django Sergio Corbucci. Whilst it is not as captivating or as dark as the films he directed during the Spaghetti boom of 1966-1970, it is still a very enjoyable movie, with the usual sprinkling of injustice that we have come to expect within his films.

Mitchell, Sancho and Riviere are captivating throughout, and Rojo could win the heart of any man with her portrayal of Estella (no wonder her character is so able to use those around her so ably). My only complaint would be the vocal overdub on the English soundtrack for the characters of Nancy (drippy) and Andy (who comes over as a Frank Spencer type character - apologies to any non-English readers that may not understand this comparison!). Once you get used to these minor grumbles about the overdub (which, honestly, does not take too long), you can really start to enjoy Minnesota Clay for the highly watchable film that it is.