Le dernier tueur

As you probably know, there were a number of spaghetti westerns that capitalized on the success of DJANGO, namely by renaming (during the dubbing) of characters to the name of "Django", as they did with this movie. (At least they didn't try to further the ripoff here by having the Django here dress in black and carry a machine gun, as some other films did.)

Anyway, this spaghetti western is not without flaws. It's more leisurely paced than other spaghetti westerns - it takes more than 30 minutes for Eastman's character and "Django" to meet, and Eastman's training takes a considerable amount of time. Some viewers may squirm in their seats at some point. His quest for revenge is almost forgotten about along the way. The "surprise" twist that happens late in the movie will probably be no surprise to most viewers.

On the other hand, the production values (sets, photography, etc.) are decent, there is some good and atypical location work (green fields instead of desert), the bad guys are hateful enough, the musical score by Roberto Pregadio is first rate, and there is some interesting dialogue. No, this movie is not a classic of the genre, and certainly won't convert newbies to the genre, but if you like spaghetti westerns like me, it is acceptable.

I recently watched the spaghetti western 🍝 Django: The Last Killer (1967) on Tubi. The story follows a young man whose parents are murdered by a ruthless local tyrant. When he confronts the killer, he's wounded but rescued by a mysterious gunman who takes him in and teaches him how to shoot. Armed with his new skills, can he finally take his revenge?

Directed by Giuseppe Vari (A Place in Hell), the film stars George Eastman (Baba Yaga), Daniele Vargas (The Arena), Dana Ghia (Smile Before Death), and Giuseppe Addobbati (Enter the Devil).

This is an inconsistent entry in both the Django series and the spaghetti western genre. The acting and dialogue feel stiff and uneven, making some scenes feel more authentic than others. The Django moments are underwhelming, and the film's attempts at full-circle storytelling don't quite land. However, the training sequences are entertaining, and there are some fun, unexpected shootouts.

In conclusion, Django: The Last Killer is a flawed but watchable western, mainly for die-hard fans of the series. I'd rate it 4/10.

Mexican homesteader George Eastman is beaten and robbed on the way to pay off his loan to a local big-wig. Turning down a chance to join a mob against the crooked moneylender, he instead goes and begs for an extension, returning home to find his parents murdered and his farm burned. Before long, he saves the life of a hired killer who teaches him the art of revenge.

A very good low-budget spaghetti western, this benefits from a script that really knows how to push the viewer's emotions, vile heavies, and a couple of decent performances from Eastman and Anthony Ghidra as Django the killer.

The best thing about this is Ghidra's insights into the world of the gunfighter. His and Eastman's scenes are quite compelling and are alone enough to make the film worth watching.

There's also a fantastic Ennio Morricone sounding score by Roberto Pregadio.

A cut-rate Spaghetti Western which recalls superior titles like THE RETURN OF RINGO (1965), THE BIG GUNDOWN (1966) and DEATH RIDES A HORSE (1968) but which is so humorless and, indeed, ponderous as to be hilarious - particularly the would-be hard-boiled dialogue, i.e. two speeches delivered by the hero's father (about the desolate state of their land before his arrival) and his bounty hunter-mentor (about the trick in approaching a showdown); my favorite, however, is when the chief villain's lieutenant stands up to his boss with the preposterous line: "I know you like I know the odor of my feet!"; at least, the music score by Roberto Pregadio is nice...

Fairly standard fare spaghetti western featuring a revenge theme, a highly skilled bounty hunter, a nefarious local businessman and innocent cannon-fodder. Irrespective of all this, it remains a pretty solidly entertaining entry in the sub-genre with a very young George Eastman in one of his early western roles when he got to play the good guy, before he would go on to become famous playing psychopaths and cannibals. It also seems quite obvious that the bounty hunter was not actually called Django in the original version but merely given this moniker in the dubbed version, in order to rope in punters who thought they were getting another flick featuring that infamous Italian anti-hero.