Non aspettare Django, spara

DON'T WAIT, DJANGO...SHOOT! is a lame attempt to jump onto the Django bandwagon, and it's obvious from the outset that the main character's name has merely been changed to Django in post production in order to cash in on the success of the Franco Nero movie. It's nothing like a Django film at all, the titular character doesn't even wear the trademark clothing, and is instead a standard vengeance-seeking gunslinger.

The film opens as an elderly man is gunned down by a gang of Mexican cut-throats, leaving his grown up son and daughter seeking revenge for the crime. This revenge takes an inordinately long time to play out, with the running time interspersed with routine intrigue and some very unexciting shoot-outs.

One of the most interesting things about the production, for me, is the presence of Ivan Rassimov in the leading role. Rassimov is well known for his appearances in '70s movies like DEEP RIVER SAVAGES and it's fun to watching him play against his real-life sister, Rada, but he doesn't make much of an impression in this one. Pedro Sanchez has a supporting role and plays the usual larger-than-life character. The truth is that nobody's on fire here, particularly director Edoardo Mulargia who churned out at least a dozen of these cut-price spaghetti westerns.

Django (Ivan Rassimov) returns to the family home to find his father has been robbed and murdered by bandits. Ignoring the advice and pleas of his sister Mary (played by Rassimov's real life sister Rada), Django sets off to town for revenge. But this is merely the beginning of things...

There's enough enjoyment here for the very hardcore Spaghetti Western fan, but expectations levels really should be set at low. There's plenty of the standard Spag shootings, stand-offs and posturings, moody atmosphere and the music is pretty ace (Felice Di Stefano), but the structure of the pic is off.

Directed by Edoardo Mulargia and written by Vincenzo Musolino, the creators take a gamble by having the revenge aspect played out very early in the piece, the plot then thrusts a multitude of characters involved - in one way or another - in the search for the missing money taken when Django's pa was killed. The whole piece feels like a string of sequences stacked up against each other without a flowing sense of rhyme or reason. It doesn't help that this incarnation of Django is bland and it is in fact his side-kick Barrica (played by Ignazio Spalla) that engages more on the fun and entertainment front. The low budget shows on occasions (watch out for that deja vu feeling), whilst logic jumps and daftness are never far away.

Needlessly complex in telling and structure, pic is marginally saved by the action and some colourful characters, but really it is for those die-hard Spag fans only. 5/10

I recently watched Don't Wait Django...Shoot (1967) on Tubi. The storyline revolves around Django's father getting killed in a business deal gone wrong. When Django returns home, chaos ensues.

Directed by Edoardo Mulargia (Shango) and featuring Ivan Rassimov (The Humanoid), Ignazio Spalla (Sabata), Rada Rassimov (The Good, The Bad and The Ugly), and Marisa Traversi (Flashman).

The film offers a classic Django experience complemented by an excellent Italian spaghetti western soundtrack. The settings, attire, and props were meticulously chosen, creating a visually immersive experience. The shootouts and action scenes were well-executed, contributing to the film's solid appeal. While the storyline is somewhat cliché, it remains enjoyable to watch unfold.

In conclusion, Don't Wait Django...Shoot is an average to slightly above-average addition to the western genre. I would give it a 5.5/10 and strongly recommend it for fans of the Django series.

Directod Eduardo Mulargio (as Edward G. Muller!) churned out a bunch of cheapie spaghetti westerns in the genre's heyday in the late 60's to early 70's. Don't Wait Django, Shoot is one of them, with Ivan Rassimov (as Sean Todd - the blue-eyed character actor mostly known for his roles as villain and psychopathic killer in gialli) in the role of Django Foster (he's got a surname too this go around!) trying to avenge the death of his father by a bunch of Mexican cut-throat extras with greasy faces. The production values are as low as you'd expect from a Django clone probably made in a week to turn in a quick buck, there's lots of non-acting going on, the dialogue is very poor and the script seems to have been conceived in one day and written in another. Entire scenes seem to exist for no other reason than to communicate a single line and the gunfighting is dime a dozen. The movie looks like it was shot 15 minutes from Rome instead of Arizona, Sonora or wherever it's suppose to take place. There are dozens more well made, more interesting, more entertaining spaghetti westerns out there and I'm not even talking about the A-list pictures of Leone, Corbucci or Sollima. This is a third-tier quickie at best and just not a good movie.

Django (played by Ivan Rassimov in this incarnation) returns home to find out that his father has been killed, by local banditos, in a business deal gone wrong . Revenge is sworn, and a mixture of lone gun men, gang members and other assorted western types get involved with the search for a pouch of money, missing from the deal.

To me this film just seems to be a poor mans Leone flick. All of the elements are there, gunslinging good guy, evil gang leader, revenge, a general lack of respect for life by everyone, a Morrcone style score and stylistic cinematography. The problem is that none of it is up to the Dollars trilogy standard. Ivan Rassimov is no Clint Eastwood (or Franco Nero for that matter, the original Django), it has neither the pace nor timing of something like The Good, The Bad and the Ugly and the music is pretty much cookie-cutter Morricone, that seems to have come out a bit misshapen.

Another problem Django Don't Wait has is that it has too many characters, all of them who have their own agenda, making it a bit difficult to follow exactly what happens. The lack of action and over abundance of talking, and just general filler, is probably one of the reasons I did not want to put the effort into following the plot line.