Le Dernier des salauds

Poor Mexican farmer Leonard Mann is met one day by mysterious stranger Peter Martell, who tells him that he's really the son of a wealthy landowner, murdered by his unfaithful wife and her lover. They then travel to his boyhood home to seek revenge, reclaim his birthright, and save his long-lost (and long suffering) sister from his mother's now ex-lover.

The Forgotten Pistolero, which borrows a little from Hamlet, is a well-told story, with excellent production values, and enough great western/Mexican atmosphere to go around. The imitation Ennio Morricone score by Roberto Pregado is pretty swell too.

The entire cast give really great performances, though the lack of any real bankable international star probably helped get this above-average Italian western unjustly buried. Mann and Martell are exceptional though, and they do make a great team.

The climax amidst a flaming backdrop is superb and ultimately quite satisfying.

However, there are some unanswered questions regarding Mann's apparent amnesia in regards to his childhood, or lack thereof. Is he even the same person? Did he tell the villain the truth when they first met? No answer is given.

(1969) The Forgotten Pistolero/ Gunman of Ave Maria/ Il pistolero dell'Ave Maria DUBBED SPAGHETTI WESTERN

Co-written and directed by Ferdinando Baldi very loosely based on "Oresteia" by Greek tragedies written by Aeschylus. It centers on gunman, Rafael Garcia (Peter Martell) being sidetracked by three bandits attempting to follow orders of bringing him back. He succeeds in shooting all of them as well as some others around him leaving a bandit, Francisco alive so that he can give him a message. The next scene has Rafael reaching to an isolated ranch before he falls off his horse upon pleading with the rancher, Sebastian Carrasco (Leonard Mann) for some water. It appears Sebastian does not recognize Rafael at all, and he fills him on his past history that the current lady he has just buried nearby is not her actual mother. That Sebastian's actual mother is still alive and is hanging around in a town called Oaxaca. And after hanging around with him some more, he tells him how his actual mother, Anna Carrasco (Luciana Paluzzi) shot and killed his actual father, General Juan Carrasco (José Suarez) by shooting him on the back, who was conspired with a bandit leader, Tomas (Alberto de Mendoza). And that the lady, Sebastian he had just buried was nothing more but the nanny/ housekeeper. That he also happens to have a sister, Isabelle (Pilar Velazquez) married to a store keep. This sets the stage for them to set things right as viewers find out that the hired bandits were ordered to fetch Rafael and return him back to Anna. That Rafael spent years looking for Sebastian and has finally managed to convince him to join him.

There is many twists and turns with some complicated scenarios as well as some surprising revelations gives this film a pass. The ending wasn't bad either.

As soon as the Forgotten Pistolero starts, the theme tune is instantly familiar - with the whistled score probably surpassed only by Morricone's Dollars trilogy soundtracks, or maybe the Magnificent Seven, when it comes to being used as the backdrop to western sketches everywhere. It is made all the more beautiful by the mountainous Almeria backdrop.

The film itself is equally impressive. Directed by the prolific Ferdinando Baldi, it begins with Rafael (Pietro Martellanza) being pursued by a gang of Mexicans. Surviving the ambush (to the sound of that glorious theme), he finds himself finally locating child-hood friend Sebastian (Leonard Mann).

Sebastian is informed that the woman he believed to be his mother, and who had raised him since a child, had in fact rescued him as an infant from the brutal attack and mass murder that had cost his father his life. Rafael tells him that this attack had been arranged by his real mother (Paluzzi) and her lover.

Sebastian's sister, who had witnessed the massacre all those years ago, had since fallen in love with Rafael (for which he had been severely punished and hounded). The extent of this punishment becomes clear later in the movie when, whilst captive, he is forced to lie next to a beautiful lady, and taunted that he now only has his muscles to prove his manhood.

This revenge story follows a different path to the majority of Euro-westerns, with emphasis on the tale rather than action (that said, there are some great action scenes). It is a highly captivating and atmospheric movie, gripping from start to finish. Well worth the watch but - warning - you'll be whistling the music for days!

This Spaghetti western is an incredible hour and a half of cinema. The amazing music score pulls you in right away. It is beautiful and at the same time expresses a feeling of melancholy and impending doom. From the very beginning you know that the ending of this film is going to be one of those grandiose, emotional, over-the-top finales, and when you get there it doesn't disappoint.

This is a great revenge story that, in some ways, can be likened to a Shakespearian tragedy. It's a tale of a wealthy family in which marital deception, betrayal, and murder brings on guilt, misery, fear, and ultimately death and destruction. It's also a great action story with lots of gun play, suspense, and some twists and turns.

The movie is a quality production with decent acting, and most likely a higher than average budget for a eurowestern.

This is a thoroughly enjoyable film from start to finish. Ferdinando Baldi's great direction, Roberto Pregadio's awesome music score, a riveting story, and solid acting performances make this a film that I would recommend to anyone.

"Gunman of Ave Maria" ends up missing the mark. It has a good story. The male cast is fine and the female cast is dreamy but, for some reason, it doesn't really come together. It kind of plays like a Lifetime version of a spaghetti western. I guess they deserve some points for trying something different but I don't think I'll be re-watching "Gunman of Ave Maria" any time soon.