Uma Pistola para Ringo

This euro-western takes place during the Christmas holiday season. While not really a Christmas-themed movie per se, the backdrop for the film is laden with people acknowledging and celebrating the holiday, complete with decorations and a Christmas tree, which makes this the closest thing to a Christmas western that I've seen. As such, for the spaghetti western fan, it is a welcome seasonal alternative to watching "It's a Wonderful Life," or the latest Moron Clause movie on your local big screen or cable movie channel.

Giuliano Gemma does a fine job, as usual, portraying the protagonist of the film, and Fernando Sancho is even better as "Sancho," the Mexican bandit. Nieves Navarro is breathtaking as "Dolores," the female bandit who becomes romantically involved with one of her hostages.

The production is above-average for a euro-western, and the film has an engaging storyline with lots of action and suspense. Add to that a great music score by Ennio Morricone, and you definitely have a winning combination that spaghetti fans will be sure to enjoy.

"Merry Christmas".

It is with this customary exchange that "A Pistol for Ringo" opens. Christmas is only two days away, but the towns-folks festive celebrations are about to come to an abrupt halt, when a band of mexicans, led by Sancho (played, quite aptly, by Fernando Sancho), take a ranch and its inhabitants hostage following a failed escape from a bank-robbery. The local sheriff, Ben, (played in true Hollywood style by Jorge Martin) has the ranch surrounded, but cannot attack for fear of the hostages being massacred. A particular concern in view of the fact that his love interest is amongst the hostages. Ringo (Gemma) is spending time in jail for the killing (albeit in "self defence") of a local gang. But when Sancho threatens to kill two hostages a day unless he and his gang are freed, the Sheriff has no option but to send in Ringo.

This is a really enjoyable movie, that sits somewhere in-between the dirt and grittiness of Leone and his Italian counterparts, and the classic American western. Even Morricone's soundtrack leans towards 50/60's Hollywood, with its crooned (and toe-tappingly catchy) theme tune.

The leading roles played by Gemma and Sancho are very convincing, and the dialogue is entertaining and full of classic quotes throughout: "God created men equal. It was the six gun that made them different". Ringo is far cleaner than Eastwood's Man With No Name (thus his name Angel Face), and cares not for alcohol, much preferring milk. But he shares the same ability and ruthlessness with a gun. Sancho meanwhile is gruff and merciless, revelling in carrying out his threat to kill one hostage at sunrise and one at sunset daily. Didn't anyone tell him it was the season of goodwill to all men????

Although not quite as strong as Director Tessari's follow up "Return of Ringo", this is one of the best of the early Spaghettis, and definitely a must view.

Una pistola per Ringo (A Pistol for Ringo) is directed and predominantly written by Duccio Tessari. It stars Giuliano Gemma, Fernando Sancho, Lorella De Luca, Nieves Navarro and Antonio Casas. Music is by Ennio Morricone and cinematography by Francisco Marin.

When a gang of bandit bank robbers hole up at a rich family's hacienda - taking all who reside there as hostages - the authorities free the gunman known as "Angel Face" from prison to ingratiate himself into the bandit horde. His mission is to destroy from within and free the innocent...

Filmed in Technicolor/Techniscope out of the familiar Spaghetti Western stomping grounds of Almeria in Spain, A Pistol for Ringo is a very enjoyable piece of pasta. From the quirky sight that greets us at pic's beginning, where our anti-hero gunman with the baby face plays hopscotch with children - then quickly dispatching four enemies enemies in the blink of an eye - to the wholly satisfying finale, it's quirky yet dramatic entertainment.

Set at Xmas time, Duccio enjoys dallying with the season's motifs as part of the narrative, and even Morricone gets in on the act, imbuing his varied score with seasonal strains (the Silent Night section simply wonderful). Gemma is very likable in the lead role, helped enormously by a screenplay that introduces a character that uses cunning whiles that are as deadly as his pistol skills. He is also very athletic (no doubt boosted by the calcium from all the milk he drinks), which brings some energy to the narrative. What action there is is brisk and zippy, with heaps of horse and stuntman felling going on, and little stabs of humorous violence (the bell shot oh my) induce smiles. Add in a couple of verbally jousting babes (Luca and Navarro) and Sancho as a bulky and moody bastardo, and yer good to go for one of the better Spags of the time. 7/10

This is one of the better Spaghetti Westerns I've watched but whose reputation – despite the popularity of the title character – seems to me to be relatively underrated (and the film itself criminally unavailable in an affordable DVD edition; the same thing goes for its follow-up, THE RETURN OF RINGO [1965]).

While pretty straightforward in comparison to later efforts in the genre (often politically-motivated and thus heavy-going), just because it's unpretentious the film emerges as more readily enjoyable than most of its type – benefiting from the presence of Giuliano Gemma (certainly one of the more likable Italian stars in spite of a somewhat limited range), a typically fine score by Ennio Morricone, but also the unusual time-frame of the plot (it's set largely inside a hacienda under siege over the Christmas period!). Besides, there are agreeable (though not over-emphasized) touches of humor throughout to counter the exciting action sequences, some surprisingly good dialogue (director Tessari also wrote the script) and, equally unexpected for such an early Spaghetti Western, interesting characterizations. In fact, the milksop hero is an opportunist who's extremely resourceful at outwitting burly villain Fernando Sancho; the latter's woman – played by Nieves Navarro, better known as Susan Scott, and the wife of the film's co-producer Luciano Ercoli – is an elegant and seductive Mexican who wins the affections of the aristocratic owner of the remote mansion where the gang is holed in; while the old man's daughter, fiancée of the sheriff but who gradually falls for Gemma, is coveted by one of Sancho's lecherous cronies.

Most of the cast and crew were re-assembled soon after for THE RETURN OF RINGO which is superior to the original (mainly because the Homeric inspiration of that film's narrative adds some much-needed depth to the protagonist) but, starting off with Gemma coming home from the Civil War, is actually a prequel to it: his military duty is mentioned in passing in A PISTOL FOR RINGO, though not the fact that he had been married (the latter is possibly an added element to the second film – so that Gemma could finally get together with leading lady Lorella Di Luca, billed as Hally Hammond).

This spaghetti western was apparently a big hit when it was released, enough to get a sequel ("The Return of Ringo") made. Watching it, I couldn't help but wonder why audiences flocked to it. Don't get me wrong, I usually like spaghetti westerns, but I found this particular one to be largely boring. Most of the movie takes place in one location, and there is a lot of scheming but very little advance in the plot. When there is gunplay, it often comes across as kind of disturbing, with little regard for life by those who fire their guns (even the hero is guilty of this on more than one occasion.) And the Ennio Morricone score is far from his best. Fernando Sancho does well as the villain, the production values are acceptable, and the climatic action sequence does have some excitement, so the movie is not without merit. But even with this stuff, this is one drab western.