Johnny Yuma

The likeable mark Damon stars in this ok western that is mildly entertaining, especially in the latter half, however, I found it quite plodding at times with too much emphasis on comedy with the side kick, which distracts from an interesting storyline. Still, it has some good shootouts, and the voluptuous and deadly Rosalba Neri steals every scene she is in. The title song is good, reminds of that John Leyton song ( Johnny remember me).

This is a very memorable spaghetti western. It has a great storyline, interesting characters, and some very good acting, especially from Rosalba Neri. Her role as the evil villainess in this film is truly classic. She steals every scene she is in, and expresses so much with her face and eyes, even when she's not speaking. Her performance is very believable. She manages to be quite mesmerizing without being over the top (not that there's anything wrong with being over the top). Mark Damon is surprisingly good in this movie too.

The music score is excellent, and the theme song is the kind that will be playing in your head constantly for days after seeing the movie, whether you want it to or not. There are a couple of parts that are very amusing. I especially like the part where Rosalba Neri undresses in front of the parrot. There's also lots of slick gun-play that's very well done.

I would probably have given this movie 8 or 9 stars if it wasn't for two things. The first being a silly bar room brawl that occurs about 25 minutes into the film. This is one of the most ridiculous looking fights I have ever seen in a movie. It is very poorly choreographed, and looks more like a dance number from a bad musical than any kind of a real fight. One might be able to overlook this if it were a Terence Hill/Bud Spencer comedy, but this is a more serious western, and the brawl really needed to be more realistic. The other thing that annoyed me about this movie was Yuma's cowardly Mexican sidekick. I guess he was supposed to be comic relief or something, but the character was just plain stupid and unnecessary in a movie like this, and he wasn't at all funny. All I can say is where is Tuco when you need him?

All that having been said, let me assure everyone reading this that Johnny Yuma is a classic spaghetti western despite the faults I have mentioned, and all fans of the genre need to see this movie.

After some difficulty, Johnny Yuma arrives at his ailing uncle's ranch to take over day to day operations, only to find out that the old man has been murdered by his beautiful gold-digger wife and the woman's vicious brother.

Good production values, a likable performance by Mark Damon, and a breezy action packed script combine to make this an entertaining, if not exceptionally deep, above average addition to the spaghetti western genre.

Co-star Rosalba Neri is one of the hottest European babes ever to grace the screen. Here she's absolutely perfect as the cold-hearted user (and abuser) of weak men.

Damon and Neri appeared together in at least one other picture, The Devil's Wedding Night, a pretty good horror movie that's of particular interest for those of you that want to see what's underneath Rosalba's dresses.

This is a very decent, if somewhat obscure, spaghetti Western. It lacks a famous-name director like Sergio Leone or American male stars like Clint Eastwood or Henry Fonda, or even Cameron Mitchell (the lead is the journeyman European actor Mark Damon), but it has one principal strength--Rosalba Neri as the sexually voracious villainess. Neri today tends to be labeled as a "scream queen", casting her into category with a lot of more modern-day American bimbos with little talent beyond taking off their clothes. Neri, however, was a very good actress, even if she was usually dubbed into English. She had a ten or fifteen year career under her belt before she started regularly stripping off in the last few years before she retired in the early 70's (and even though she was in thirties by then and didn't have the benefit of modern-day plastic surgery, she managed to outshine the present-day "scream queens" even in that department).

More importantly though, she was actually in good movies now and then--and this is one of them. Neri plays the young widow of a wealthy man (whose murder she herself no doubt arranged). She finds out that her late husband left his fortune to his gunfighter nephew, Johnny Yuma (Mark Damon), so she beguiles her various lovers and her sleazy brother into trying to murder him. The plot gets a little confusing at times, but you never lose interest when Neri is on the screen. She is deliciously evil and quite sexy, even though she only strips for her parrot(!) and not the viewer in this early role. Check it out if you like spaghetti and saucy Italian actresses.

This is one of several of American actor Mark Damon's European ventures; he worked in various genres (such as historical epics and horror films) but also did a number of Spaghetti Westerns – including Sergio Corbucci's light-hearted RINGO AND HIS GOLDEN PISTOL(1966; originally bearing the similar title JOHNNY ORO) and the politicized KILL AND PRAY (1967), where he actually played the villain; even so, I don't feel he exudes the ruggedness which is part and parcel of this stylized subgenre!

Despite interesting credentials (incidentally, the widescreen German print on the budget DVD I rented omits the opening titles completely…so that the sequence where they ought to be merely shows Johnny Yuma wandering aimlessly on his horse!) – director Guerrieri, co-scriptwriter Fernando Di Leo – this is a minor genre effort, hindered more than anything else by a not very compelling plot line (drifter Damon battles sultry aunt Rosalba Neri and her gunman lover Lawrence Dobkin for an inheritance); unsurprisingly, the latter ends up befriending the hero and is ultimately himself deceived by the femme fatale.

The film is undecided whether it wants to be serious or approach the genre with tongue-in-cheek (hinted at by the presence of a greedy Mexican bum who aids Damon throughout) – though sentimentality over the murder of a child who has harbored the wounded hero (as often happens in this type of film, the latter receives a thorough beating only to re-emerge a stronger person for the finale) suggests something deeper may have been intended. The Mexican pueblo in which the tale unfolds supplies the requisite Western atmosphere, but also proves the ideal setting for the climactic gunfight. The score by Nora Orlando isn't bad and, yet, the lyrics to the title song seem to have been hastily scribbled down – having little to do with the action proper of the film!