Cemitério Sem Cruzes

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.

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.

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.

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.

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!