Johnny Yuma

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!

One of the more satisfying Western all'italiana, Johnny Yuma has the freshness of many WAI made during the heyday of the genre and is highly recommended for fans of the genre or offbeat, intelligent cinema.

Johnny Yuma is, in most respects, not terribly original, but this actually does not count against it. The success of a genre film depends on how well it meets the audience's expectations as well as provides surprising variations on these expected elements. Earlier, pleasing experiences are recreated but with subtle (or major) twist that provide continuing interest. The quality of the execution is also, obviously, important. A tired retread will be less successful than a sincere attempt to entertain or move the audience.

Given these criteria, Johnny Yuma succeeds. There are numerous reprises of elements from earlier films. The setting is the brutal, twisted semi-feudal twilight world of shared by many of the best "Gothic family" westerns made 1964-1968 such as Tempo di massacre (1966). The plot is a combination of the basic Fistful of Dollars (1964) plot and the Ringo films, a fact not surprising as screenwriter Fendiando di Leo was involved in both. Di Leo was one of the best screenwriters in the popular cinema coming out of Cinecitta in the 1960s-70s and his work helped provide much of the thematic continuities and coherency to the genre (Along with a couple of other personalities in a few distinct circles of actors, directors, and screenwriters). In the FOD plot, the protagonist arrives in town, stirs up a tense situation, then undergoes a near-death followed by a resurrection (in some films, like Quella sporca storia nel west (1968) it is quite literally a crucifixion). The Catholic undertone to the narrative and the symbolism is intriguing, especially given the implicit populist/explicit socialist leanings of the filmmakers and their films. The Ringo plot, developed more fully by screenwriter Ernesto Gastaldi in a series of films starring Guliano Gemma, a egoistic protagonist chooses the interest of a community over his own through the medium of a relationship with a member of that community (with a healthy dash ironic uncertainty).

The relationship between Carradine and Johnny is clearly based on that of Manco/Mortimer from a Fistful of Dollar (1965). The two scene of the exchange of the gun belts provides a clever dialog and understanding between the two. Numerous films, including Da uomo a uomo (1968) or even El Chuncho, quién sabe? (1967), use this relationship between an older and younger man (father/son, older/younger brother, Anglo adviser/adversary and peasant revolutionary) as a central dynamic to the plot.

Additionally, there is the focus on deception and misdirection, mazes and mirrors, that recur throughout the best early WAI. The canons and pueblos of Almeria become literal mazes through which protagonist and antagonist play shifting games of cat and mouse.

What distinguishes Johnny Yuma from other WAI is the quality of director Romolo Guerriri's use of visual/psychological space together arrangement with the script's intelligent mechanisms to forward the plot. Dialogue was never very important to the WAI and often absurdly unintelligible (thought there are exceptions, such as the cynical commentaries in Django (1966) or Faccia a faccia (1967).

Psychological depth of character is created almost entirely through iconic imagery, it's juxtapositions, and it's description of the overall narrative situation. See how the presence of the deadly Samantha is felt during the beating scene – watching from the roof or from the background of the action. Or how Johnny strips Samantha and Pedro of their security and confidence in their power through his stealthy invasions of their ranch, hotel, even bedroom (this, again, is a theme from FOD). Finally, note how there is a focus on the search for information. Like many elements, this is borrowed from FOD which was ultimately based on the hard-boiled mystery novel Red Harvest. It is through incidental contacts, wanted posters, overheard conversations, glances out of windows, watches left in the dust, or mistaken identities and movements through the ripples created by the actions of Pedro and Samantha within this surreal and absurd reality that the narrative tacks forward to it's conclusion.

The movie was notable in it's time for what were perceived of as excesses in violence. Of course, these films were hardly more violent than many American westerns. What was different was the psychological intensity of the violence and the causes to which it was attributed, which is to say that it was not the violence but it's meaning that had changed. Johnny Yuma is distinct and interesting in it's use and portrayal of violence and this is another interesting aspect of the film.

What I personally find most interesting about most of this genre is the link it provides to the anonymous, nameless audiences in Italy and Spain to whom these recurrent narratives held some significance and interest. The artifact may have no intrinsic worth in and of itself – some flint debitage from a prehistoric site, a shard of cruse pottery, or a moldering piece of leather and rusted metal – but it is reference to some nameless presence, lives, that were significant simply because they existed. While Johnny Yuma has intrinsic worth, much of it's interest for me derives from this connection and mystery.

Top spaghetti western list http://imdb.com/mymovies/list?l=21849907

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For fanatics only (bottom of the barrel) http://imdb.com/mymovies/list?l=21849890

I wanted to like this a lot more than I did. From the title song on I felt like it was trying hard to find it's place within this competitive genre, but was misguided. All the ingredients are here for this to be a fantastic Spaghetti Western, but I think it took itself too seriously. There is some basic comic relief with his best friend and the score is OK, but makes the movie feel more like an American Western than it's Italian compadres. The lead female villain is pretty fantastic, but overall I think there are better movies within the genre. If you are into watching gun fights there is a pretty solid one that lasts quite awhile near the end of the movie.

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).