Selle d'argent

Fulci's third and final Western may have a straightforward plot, but the whole thing is so well made I couldn't help but like it anyway. In HD, parts of it look like an oil painting.

Guiliano Gemma plays Silver Saddle, a guy who required his saddle by killing the guy who killed his father at the age of ten. Since then, Gemma has wandered the land and hating on the family who hired the guy who killed his dad. Or something like that.

While out one day, Gemma bumps into Two Strike Snake (Geoffrey Lewis, who I did not expect to see turn up in an Italian film), Snake likes to loot dead bodies and knows Gemma because he's famous for leaving bodies everywhere. Eventually, Lewis manages to talk Gemma into taking an assassination job - that of one of the hated family. Gemma's all up for that...until he discovers that the target is a child, and even though Gemma hates that family, he does not kill kids. But who wants him dead?

I've not watched Massacre Time, but compared to Four of The Apocalypse this film is a lot less violent. It's still violent mind you (head shots etc) but no one eats anyone else's arse like in Apocalypse. No Tomas Milian types writhing about in filth screaming either. It's tale of the good guys versus the bad guys, with all the usual ingredients thrown in, like Mexican bandits, greedy landowners and corrupt sheriffs, but seeing as how it's made by Fulci with his best crew, I have no complaints whatsoever.

And that includes the soundtrack. I though it added a slight melancholy atmosphere to the film. Is this really known as the last ever Spaghetti Western?

The third and last of Fulci's Spaghetti Westerns (coming at the tail-end of the genre) - not up to the vintage MASSACRE TIME (1966) but preferable to the disappointing and unpleasant THE FOUR OF THE APOCALYPSE (1975) - with a distinct kiddie interest, since the violence isn't particularly graphic. In fact, even if star Giuliano Gemma (perhaps best known for two "Ringo" Westerns) is given the possibility of a couple of romances, the central relationship involves him and the young nephew of his sworn enemy!

As such, it emerges as unremarkable but surprisingly engaging, with a pleasant soundtrack and able support from Geoffrey Lewis (as Gemma's sidekick, a more likable version of the slimy bounty-hunters played by Strother Martin and L.Q. Jones in Sam Peckinpah's THE WILD BUNCH [1969]), Ettore Manni (as the chief villain) and Aldo Sambrell as a Mexican bandit-leader.

Lucio Fulci's "Sella D'Argento" aka "Silver Saddle" of 1978 is the last, and in my opinion the least interesting out of three Westerns directed by Fulci (not including his co-directing of Julio Buchs' "A Bullet For Sandoval" of 1969). "Silver Saddle" is definitely not a bad or boring Spaghetti Western, it is actually a fairly good movie, and Giuliano Gemma plays the lead very good, but I personally expected a little more from a Fulci Western, particularly after great "Tempo Di Massacro" aka "Massacre Time" of 1966 (with the great Franco Nero in the lead), and the moving though sadistic "Quatro Dell'Apocalisse" aka. "Four Of The Apocalypse", which was maybe no Spaghetti Western masterpiece, but which I personally liked a lot.

"Silver Saddle" starts out very good, when little Roy Blood witnesses the murder of his father by a henchman of the powerful Barrett Clan, and subsequently subsequently shoots the murderer and takes his saddle, which is adorned with silver. Grown up, Roy Blood (Giuliano Gemma) has become a deadly gunslinger, who still uses the silver saddle. After befriending a crook named Two Strike Snake (Geoffrey Lewis), Roy obtains an opportunity to kill the patriarch of the Barret Clan, and therefore ultimately avenge his father's death. When Roy hides where he suspects his arch enemy, however, a little boy shows up instead. Some thugs try to assassinate the kid and Roy keeps them from doing so by shooting them all...

...and at this point things started to bother me. Cute little kids in bigger roles may work fine in many movies, but they do certainly not belong into a Spaghetti Western directed by Lucio Fulci. The little kid was probably intended to be 'cute' and/or 'funny', but, I'm sorry to say this, I just found the little brat annoying as hell, and although he even admittedly is funny in some points of the film, the whole movie could have been a lot better without him.

Nevertheless, "Silver Saddle" is entertaining in most of its parts. A Spaghetti Western enthusiast, I have utmost respect for Giuliano Gemma for his performances in such films as "Day Of Anger" or "The Price Of Power", but I have never numbered Gemma among my favorite Spaghetti Western actors, since he hardly ever embodied the typical antihero, but was more of a typical 'good guy' in most of his films. Nevertheless, Gemma fits perfectly in some roles, and one has to say that his performance in "Sella D'Argento" is very good, and I could hardly imagine anybody else playing the role of Roy Blood. Geoffrey Lewis also delivers a very good, funny performance as Gemma's buddy Snake. The supporting cast furthermore contains two truly great Spaghetti Western regulars, Donal O'Brien, who only has a small role, and Aldo Sambrell, who once again plays a thuggish Mexican bandit. The locations are good, the score is OK, I especially liked Snake's theme, the only parts I didn't like about the soundtrack were the parts with the singing.

All said, "Silver Saddle" has its flaws, they should especially have left the little kid out and there is a lot of other unnecessary and silly cheese throughout the film, but apart from that it is an enertaining if disappoining Spaghetti Western, with a fair amount of action and violence in it. As a Spaghetti Western enthusiast I found it to be an enjoyable time-waster, fans of Giuliano Gemma should give it a try. Don't expect too much though.

This 1978 release is generally considered as the last spaghetti western in the cycle commenced in 1964. The occasional entries from the eighties were simply a one off attempts to revive a genre which formally ended in 1978 but which had been in its death throes since the early seventies. This is a western for children directed by of all people Lucio Fulci with his trademark gore nowhere to be seen. Gemma who was always a heroic presence rather than an anti hero was perfectly cast for the film intended by the producers. The story has a young boy seeing his father murdered and murdering the Killer and taking his silver saddle.Growing up as a feared bounty hunter he saves the life and befriends the young nephew of the man he intends to kill for having commissioned his father's murder and from this point on the action and mild violence take a back sear to th relationship between Gemma , the kid his beautiful aunt and his partner a sympathetic crook excellently played by Geoffrey Lewis. A good but not exceptional score is aided by a catchy title theme in the De Angelis mold. Not a great film, maybe not even a great spaghetti western but very enjoyable from start to finish.

While Italian movie director Lucio Fulci is best known for his bloody horror movies, he actually did dabble in other genres in his career. He even made a few spaghetti westerns, "Silver Saddle" being one of them. Made when the spaghetti western genre was breathing its last breath, it's been all but forgotten today. To a degree I can understand this. It does have more than its share of dull spots, and Giuliano Gemma is only adequate in the lead role. But the movie all the same has enough interest to satisfy spaghetti western fans. Fulci throws in some interesting direction at times, such as with some particular camera movements as well as how he composes what's in front of the camera. Though there isn't enough action, what action there is in the movie does catch your attention, particularly with some very bloody squibs thrown in. Gemma's somewhat underwhelming performance is made up for by the presence of American actor Geoffrey Lewis, who is amusing without being overbearing. And the music is great; you'll be humming the title song for days after watching the movie. It's no classic, but it's a respectable final effort for a genre that was breathing its last.