2 salopards en enfer

First film as director of Tonino Ricci (1927-2014). And, it's not bad. The same year, 1969, Klaus Kinski performed in "Five for Hell" (1969)5 per l'inferno (original title). In both films, Kinski is a villain, SS Colonel Hans Mueller in "Five for Hell", and American Corporal Brian Haskins/Norman Carr in "War Fever", the difference being that in "War Fever" he's doing some good deeds, killing many Germans and dying as a hero, while in "Five for Hell" it's just the opposite, he's just a mean and perverse man, killing americans. In both, he is the same special, unique, enormously talented, crazy, Klaus Kinski. Unfortunately, Riz Ortolani's music, great in many other films, this time is not. The film is also known with the title "Salt in the Wound".

Wow. I had to watch it again to be certain, and sure enough this is one of the finest movies about war I have ever seen. That it was made as part of the Italian Euro War phenomenon of 1967 - 1970 is even more remarkable & results in a rating score that is perhaps a bit inflated, but totally earned. Don't let the low budget deceive you: this movie is a masterpiece.

The highlight of the film for me is during the climactic battle scene where three Yanks (George Hilton, Ray Saunders, and the insane Klaus Kinski) hold off a battalion of Waffentroops in a display of scrotal fortitude that needs to be seen to be believed. At one point Klaus goes bonkers, single handedly charges into an approaching German Panzer column & takes no prisoners. The rage seething from Kinski's every pore is infectious, making viewers howl with glee as he metes out death and for about a minute Klaus becomes a physical embodiment of the Hell that is war. It is a frightening, hilarious and exhilarating moment that has no precedent and nothing since quite like it.

The version I located is the 93 minute English language print of SALT IN THE WOUND, which ends on a very poignant note with George Hilton saluting a nameless cross in a generic looking American WW2 cemetery in the Italian countryside. Europe is dotted with such places, which are a physical reminder of how the world faced down evil, with American blood watering the roots of freedom for people in other lands. Another great testament to Kinski's brilliance as an actor is how even with his voice dubbed by some guy that sounds like Bert from "Sesame Street" he *STILL* plays an American G.I. that comes across as more real than any American actor could have done. That his character is a seemingly worthless, unredeemable maggot on society makes the final show of bravado in the face of the enemy even more prescient. We are, after all, a nation of killers. Kinski & the director/writer are merely messengers reminding us of this.

Kinski and Ray Saunders play two American soldiers who have committed murders so heinous that they are condemned for execution before a firing squad. George Hilton portrays the green as grass West Point graduate student playing soldier, who takes custody of the pair and finds himself on a strange journey reminiscent of THE DEFIANT ONES after the execution party is ambushed by German troops. The trio learn to hate each other's guts with respect and take shelter in a fortress like city in Ye Olde Italy that has been waiting for liberation by allied forces, leading to an awkwardly appropriate scene where the three are welcomed as conquering heroes. Surprises await as German forces target the town for annihilation & the three find out that the townspeople's first impression of them as heroes was absolutely correct.

The majority of these Italian Euro War movies are Spaghetti Westerns with tanks instead of horses. This one is different. Sure, there is the sort of heavy handed larger than life characterization of the main players which the best of the Spaghetti's are all distinguished by. There is also an intoxicating artiness to certain shots: Misty battlefields, the ancient Italian village, bizarre footage of the Panzer tanks crashing down trees in a way that makes them seem to burst right out of the screen. The film has a cartoonish hyper reality to it that makes the authenticity of costuming or equipment secondary to the moments created -- another quality shared with a Western. But at the end there's a lump in your throat, and you actually do understand something about the nature of war & the men that fought it. It is unexpectedly moving and totally unique.

Most of the Euro War movies I have encountered have a sort of imposed emotional impact that never quite resonates, artificially added onto what are essentially popcorn crunchers. I'm actually working on a theory about why the genre seems to be so universally ridiculed, which is that the writers & directors sought to add weightiness to their B-grade genre thrillers by having them be about the weightiest subject of all, World War II. The annoyance comes in having the movies essentially result in an entertainment rather than a documentary about the horrors of combat with cleverly simulated battle scenes, like PLATOON or ALL QUIET ON THE WESTERN FRONT. The Italians seemed more interested in providing entertainments than lessons in history. And certainly could not have cared less about painting an accurate picture of how being caught up in such a situation would literally change a man, finding both the worst and best in their human character even without them realizing it was happening.

Well, here is one that does, and it deserves to be seen by modern day audiences restored to it's complete length (Calling Blue Underground??). People might actually be able to learn something from it, and reflect upon the price that must be paid to confront tyranny. SALT IN THE WOUND neither truly glorifies war nor does it completely condemn the practice, just examines how it profoundly shapes the men who fight it, and the change of pace will catch even the most jaded viewer off guard.

10/10

This is a war-themed film, or rather, purportedly anti-war, different from what we're used to. Here, the purely war-related aspects-combat techniques, weaponry, uniforms-are quite neglected. Clearly, they didn't have an expert in the field, and probably didn't bother allocating a sufficient budget for this. Furthermore, it's a movie centered on psychological investigation. The setting, namely the advances of the 5th American army moving north through the Italian peninsula during WWII, is merely secondary and contributes nothing to the intended psychological exploration the director aimed to bring to the big screen.

There are numerous poorly executed or neglected details that detract from any potential strengths the film might have. The makeup, costumes, hairstyles all carry a '70s vibe that hardly makes everything else believable. Once again, perhaps these weren't the director's main focus, as they almost exclusively aimed to capitalize on a storyline that has its interesting points, but sadly, they haven't been wisely emphasized.

The actors, especially Kinski, moderately fulfill their roles, although these performances get lost in a visually flawed narrative full of imperfections and stylistic choices the director fails to control.

Technically speaking, all things related to warfare are of a very low standard, with visual stereotypes reminiscent of Spaghetti Westerns, and excessively expedient and erroneous narrative shortcuts. Weapons with infinite ammunition, soldiers from both sides dropping like flies under the enemy's endless gunfire, and a myriad of inaccuracies that undoubtedly provoke total rejection from fans of the genre towards the entire movie.

However, setting aside all these aspects, fundamentally, I believe it's a modest film that deserves more than just a passing grade since making a war-themed film when the real intent is a psychological investigation of characters-soldiers who each, in their way, carry their social, human, or racial condition-is no easy feat.

This is a below mediocre war film that doesn't have much to say. It was made by Cine Azimut, which isn't famous for other hits as "Cost of Dying", "Death Laid an Egg" (real title), this one, and two others. After seeing this film, I'm not surprised he's not more well known. There is occasionally some good action and a few tense moments, but it mostly just felt heavy-handed with the message. War movies fall into the trap of their message all the time. This was a "War is hell and people sometimes become the animals war requires them to be". I think that's what they were going for, anyway. The climax is so far over the top that it was completely unbelievable, but in an over-zealous, yet somewhat touching kind of way. The shining performance came from Klaus Kinski, but even then it was a larger than life performance in a wild and woolly kind of way. I did like the location filming. Most of it was filmed in Italy and Monte Carlo, so it's got that rustic, believable old-world WWII feel, a gold star for that. Ultimately, this is not a terrible film, far from it, but it's likely not one I'll be watching again or can recommend.

One of my hobbies is watching obscure titles on old VHS tapes usually bought from flea markets and car boot sales. Most of the films are genuinely appalling, but every once in a while a gem is found.

Salt in the wound is one of them. In fact, most Klaus Kinski films are better than your average American pap. Apart from Kinski's psychotic performance, Salt in the wound also excels in cinematography. Some scenes are rescued by imaginative use of light. Also the length of the film is less than 90 minutes, which helps in keeping the viewer focused throughout.

The worst part of the film is the script. Cliched and predictable, it goes to show, that imagination in the casting and directing goes a long way.

Recommended, if you can get a copy.