Auteur archieven: Jeppe Kleijngeld

Keoma

Posted on by Jeppe Kleijngeld



Director: Enzo G. Castellari
Written by: Enzo G. Castellari, Nico Ducci, George Eastman, Mino Roli
Cast: Franco Nero, Woody Strode, William Berger, Donald O’Brien

Year / Country: 1976, Italy
Running Time: 97 mins.

Besides the legendary spaghetti westerns by Sergio Leone, that due to their lyricism and sense of dimension, became true cinema classics, the genre consists almost solely of B-pictures. This B-genre started in 1966 with the release of Sergio Corbucci’s Django. This classic cult movie shaped the format of the genre with its mysterious hero driven by revenge, excessive violence, a limited budget and the absence of realism.

Exactly ten years later, Keoma was made, one of the last notable films of its genre. Like in Django, spaghetti star Franco Nero stars in the title role. The movie is also known as Django Rides Again, while it has nothing to do with the Django series. The producers probably wanted to cash in on this household name, just like approximately thirty other pseudo sequels and lousy spin-offs tried to do.

But Keoma is not a lousy film, on the contrary. It’s quite the action-western with Nero once again portraying a strong character. The half-breed Indian Keoma returns from civil war only to find his hometown in chaos and controlled by an evil gang led by the sadistic Caldwell. Keoma takes on Caldwell’s scum that includes his own three half brothers. He gets help only from his father and a black man named George, an outcast like Keoma, played by genre icon Woody Strode.

Through flashbacks we learn more about Keoma’s childhood. He was never accepted because of his Indian background. The racism in the film contributes to the movie’s depressing atmosphere. Other factors contributing to this are the hellish images of plague victims and general destruction. The dark, unpleasant atmosphere is enhanced by the wailing score by Guido and Maurizio De Angelis.

But Keoma isn’t that deep into deeper meaning. The action is what makes it stick. The slow-motion gunplay, a specialty of director Enzo Castellari, is done masterfully. While the film may be a little too dark and serious, and miss the irony and sarcasm of Leone’s films, it is a supreme spaghetti in terms of uncompromising action. A worthy finale to a glorious period.

Rating:

Biography: Enzo G. Castellari (1938, Rome) was born as Enzo Girolami, son of cult-director Marino Girolami (Zombi Holocaust). In the seventies and eighties he made a large number of exploitation movies. Most of them were low cost productions, but by using slow-motion and special editing techniques, Castellari differentiated his movies from the pure trash flicks. After the downfall of the Italian B-movie industry during the late eighties, Castellari turned to television like many of his colleagues did.

Filmography (a selection): Go Kill and Come Back (1967), Seven Winchesters for a Massacre (1967), That Dirty Story of the West (1968), Battle Squadron (1969), Cold Eyes of Fear (1971), Con Men (1972), High Crime (1973), Keoma (1976), The Big Racket (1976), The Heroin Busters (1977), The Inglorious Bastards (1978), Shark (1981), Bronx Warriors (1982), Bronx Warriors 2 (1993), Tuareg: The Desert Warrior (1984), Hammerhead (1987), Extralarge: Moving Target (190, TV), Extralarge: Black Magic (1991, TV), Jonathan of the Bears (1993)

TV Dungeon: Shameless

Posted on by Jeppe Kleijngeld

(2004 – 2009, UK)

Creator: Paul Abbott
Cast: David Threlfall, Gerard Kearns, Elliot Tittensor, Rebecca Ryan, Samantha Siddall, Jody Latham, Rebecca Ryan

6 Seasons (66 Episodes)

The comedy-drama Shameless provides a compelling look into the underbelly of British society. The central family, the Gallaghers, live in Chatworth Estate, Manchester. One of these British slumps where nobody has money, petty criminal enterprises are standard practice and the quality of life is mainly the result of partying, drugs and family bonding.

The show was created and, at least initially, mainly written by Paul Abbott, who is also the series’ Executive Producer. Much of the show is based on Abbott’s own experiences growing up in a similar situation to the Gallaghers in Burnley.

Family patriarch Frank Gallagher is a professional drinker and e-popper, who spends all of his days in local pub ‘The Jockey’. Despite his overall unconscious state, he frequently shares his philosophical outlook on life with the viewer. ‘Make poverty history, cheaper drugs now’, is one of his typical statements.

Frank’s kids (six in total) are used to living on a shoestring budget, as they grow up in this no future environment. This situation has shaped them into very effective problem solvers. This combined with their greatest virtue, their warm loyalty towards each other, helps them to cope with the everyday challenges, often involving the authorities, that they have to face.

The humor in Shameless is very well done, provided you don’t mind crudeness and profanity. Also the drama touches the viewer in the heart. This is mainly due to the strong cast. Some situations may feel unbelievable, but the characters never do. Their strong bonding, opposed to the more distant relations in the higher classes of society, even makes it tempting to join the this ‘unlucky’ bunch at times.

The first three seasons are just great. After that, the series loses quite a few important characters that are replaced by the Maguires, a family of lowlifes. This harms the series in a major way. The acting capabilities of the actors portraying the Maguires are very limited, making their far fetched story-lines hard to swallow. Luckily David Threlfall’s memorable performance as Frank saves the series from sinking to mediocrity.

Capone (1975)

Posted on by Jeppe Kleijngeld


‘The man who made the twenties roar! Now, after 45 years, his true story can be told!

Directed by:
Steve Carver

Written by:
Howard Browne

Cast:
Ben Gazzara (Al Capone), Harry Guardino (Johnny Torrio), Sylvester Stallone (Frank Nitti), Susan Blakely (Iris Crawford), John Cassavetes (Frankie Yale), Frank Campanella (Big Jim Colosimo), John D. Chandler (Earl ‘Hymie’ Weiss), Peter Maloney (Jake Guzik), Royal Dano (Anton J. Cermak), Dick Miller (Deputy Sherrif Joe Pryor)

Alphonse Capone wasn’t Mafia strictly speaking. But his outfit in Chicago was much more powerful and feared than the many mob families in the US. In this biography, we follow him as he rises from the streets of Brooklyn to the top of the Chicago underworld.

His mentor was Johnny Torrio (Harry Guardino) , a business oriented gangster who saw major opportunities in the upcoming prohibition and potential in the thuggish Al Capone. When Torrio moves to Chicago to profit from the opened-up illegal booze market, he brings Capone along as his second man. After ridding themselves of a local big shot, they quickly build a vast empire that generates millions of dollars monthly. The roaring twenties have begun.

But North Side gangsters, such as Hymie Weiss, Dion O’Bannion and George ‘Bugs’ Moran oppose the rising power and a gang war ensues. Torrio, who doesn’t have a stomach for blood, leaves Chicago after a failed assassination attempt and Capone inherits the business. This results in more bloodshed, right until the infamous St. Valentine’s Day Massacre and the demise of Capone along with the end of the prohibition.

This movie contains a lot of Tommy gun action, tit shots and fist fights, making it little more than an exploitation flick. No wonder, since Roger Corman, King of the B’s, is the producer. The cast is pretty B too and the acting no more than okay. Gazzara’s portrayal of Capone relies too much on yelling and tough guy talk, while the then unknown Sylvester Stallone shows little promise here. Only Guardino is excellent as Torrio.

Capone starts promising, but for a biography, it remains way too shallow to really captivate the viewer. We just don’t get to know Capone. All we really see is that he is a hothead with a big mouth and a Tommy gun. Also the historic accuracy of this film should be taken with a big grain of salt.

Rating:

Quote:
JOHNNY TORRIO: “Chicago is a beer drinking town. No law can change that.”

Trivia:
In the film, Capone’s henchman Frank Nitti frames Capone, resulting in his conviction for income tax evasion. He then takes over the outfit. In reality, Nitti was convicted for the same felony and received an 18 months sentence.

Django

Posted on by Jeppe Kleijngeld

Director: Sergio Corbucci
Written by: Sergio Corbucci, Bruno Corbucci, Franco Rossetti
Cast: Franco Nero, José Bódalo, Loredana Nusciak, Ángel Álvarez

Year / Country: 1966, Italy / Spain
Running Time: 88 mins.

In 1964, Sergio Leone, an Italian director, redefined the western genre with A Fistful of Dollars, a groundbreaking remake of Akira Kurosawa’s Yojimbo. Starring a then-unknown Clint Eastwood, the film introduced audiences to the now-iconic figure of the nameless gunslinger, a drifter who arrives in a town torn apart by a bitter private war. Playing both sides against each other, he emerges victorious, setting the template for the spaghetti western genre.

The overwhelming success of Leone’s film inspired a wave of imitations, varying in quality. Among these, Django (1966) by Sergio Corbucci stands out as one of the best and certainly the most famous. The film borrows heavily from A Fistful of Dollars but adds its own distinctive twist. Instead of a nameless drifter, we meet Django, a mysterious stranger trudging through a desolate landscape while dragging a coffin behind him. His identity is memorably introduced through Louis Bacalov’s haunting theme song, which passionately proclaims his name: Django!

The story follows Django as he rescues a prostitute named Maria from a gang of ruthless outlaws. He escorts her to a ghostly, near-abandoned town where he intends to settle an old score. There, he finds himself caught in a deadly conflict between Mexican revolutionaries and a band of racist Southern renegades led by his arch-nemesis, Major Jackson. Initially siding with the Mexicans to deal a crippling blow to Jackson, Django’s motivations soon come to light, setting the stage for an explosive and tragic finale. By the film’s end, only Django and Maria are left standing amidst the carnage, with the rest buried – literally and figuratively.

What elevates Django almost to the level of Leone’s masterpiece is Corbucci’s skillful execution of the genre’s defining elements. Franco Nero delivers a magnetic performance as the titular anti-hero, rivaling Eastwood’s cool and detached gunslinger. Bacalov’s score, while perhaps not as iconic as Ennio Morricone’s, is equally evocative, setting the perfect tone for the film. The supporting cast adds depth to the world, and the stylish, gritty action sequences ensure the audience remains captivated throughout.

Of course, Django is also notorious for its graphic violence, which was shocking for its time. Though modern audiences might find it less visceral compared to contemporary standards, the film doesn’t shy away from bloodshed. That said, the lack of squibs – a result of budgetary constraints – dampens some of the impact, as the gunplay often lacks the visual punch of more modern films.

The film’s pacing does falter slightly in the middle act, where the tension and momentum dip after the gripping opening sequences. However, Corbucci makes up for this with a thrilling and memorable climax that reaffirms the film’s status as a cult classic.

In conclusion, Django is a quintessential spaghetti western and a must-watch for fans of the genre. With its unforgettable protagonist, striking visuals, and bleak tone, it stands as a testament to the creativity and enduring appeal of Italian westerns.

Rating:

Biography: Sergio Corbucci (1926, Rome – 1990, Rome) was, alongside Sergio Leone, one of the most prominent directors of spaghetti westerns. Born and raised in Rome, Corbucci played a crucial role in popularizing the genre, particularly through his iconic films Django (1966) and The Great Silence (Il Grande Silenzio, 1968). He frequently collaborated with actor Franco Nero, crafting memorable characters and stories that helped define the genre’s unique style. His B-movies are characterized by brutal violence, surrealist and apocalyptic production design, black humour and politically left symbolism. Corbucci was a fanatical Marxist and many of his films show the hopelessness of the revolution. He kept working in Italy throughout his career and most of his films were barely released abroad. He died in Rome in 1990.

Filmography (a selection): Foreign Earth (1954), Water’s Love (1954), Supreme Confession (1957), Angel’s Sky (1957), Duel of the Titans (1961), Toto, Peppino and La Dolce Vita (1961), The Son of Spartacus (1963), Grand Canyon Massacre (1963), Django (1966), Navajo Joe (1966), The Mercenary (1968), The Great Silence (1968), Compañeros (1970), Bandera Bandits (1972), The White, the Yellow, and the Black (1975), The Payoff (1978), Super Fuzz (1980), My Darling, My Dearest (1982), Days of Inspector Ambrosio (1988)