Aka Un dollaro a testa. A man who knows what he wants is worth a lot. After carrying out a massacre on a peaceful Indian village, scalping the inhabitants for a dollar apiece, outlaw (and half-breed) Vee Duncan (Aldo Sambrell) finds his band of cutthroat brothers falling victim to a solitary rider, the warrior Navajo Joe (Burt Reynolds). Joe saves three prostitutes who have overheard Duncan plot with Lynne (Peter Cross aka Pierre Cressoy) the town doctor, to steal a Government train full of half a million dollars cash. Joe steals the train back from Duncan’s gang. He asks the townspeople of Esperanza to pay him to protect them from Duncan, making an offer: I want a dollar a head from every man in this town for every bandit I kill. The townspeople reject him, as they don’t make bargains with Indians. Lynne’s wife Hannah (Valeria Sabel) persuades them otherwise. Joe sets a trap for Duncan, but is caught and tortured; Lynne and Hannah are killed. Rescued by an old man from the saloon, Joe again steals the train and kills Duncan’s gang. There is then a showdown in an Indian cemetery, where Joe reclaims the pendant that Duncan stole from his wife when he murdered her. As Joe turns, Duncan shoots Joe with a hidden gun. Injured, Joe grabs a tomahawk and throws it, hitting Duncan square in the forehead. With Duncan dead, Joe sends his horse back to town, carrying the bank’s money… Burt Reynolds used to say that when Clint Eastwood came back from Europe on the heels of his Dollars trilogy with Sergio Leone, he too jumped at the opportunity of a good payday with a terrific director called Sergio when he came knocking. Then he arrived in Spain to find he was working with Sergio Corbucci! The wrong Sergio. And decked out in a wig that made him look like Natalie Wood he made a very violent film that netted him a cool $350,000: not too dusty. He said of the experience, Of course when you play a half-breed you have to be stoic – and you can’t get funky – and you have to have a deep voice. Apparently there are no Indians with high voices. And you have to shave your arms all the time. It’s easy to get the left but just try and reach the right. In fact producer Dino DeLaurentiis had told Corbucci that Marlon Brando would be the lead – and cast Reynolds because he resembled him. Brando couldn’t stand Reynolds – he had played a parody of him in a 1963 Twilight Zone episode (The Bard) and called him a narcissist!! This is in fact an iconic work with an extraordinary score by Ennio Morricone (credited as Leo Nichols): its bones rattle throughout the culture and were hugely influential on one Quentin Tarantino (named of course for Quint Asper, Reynolds’ character on Gunsmoke) who would use some of the music in Kill Bill Vol 2. We are presented with a world of violence, cynicism and amorality with a deal of surrealism thrown in for good narrative measure and the action sequences are fantastically effective with the landscape being used superbly: canyon, wilderness, cliff face, they are all part of the unfolding story. The Big Silence might be his masterpiece and Django (which he also made in 1966) his most renowned protagonist (and wasn’t he a gift that would go on giving and giving) but this is a loud war cry from the land of spaghetti. Reynolds is just dandy as the anti-heroic brave pushed to his limits (like Billy Jack?) in a film that was setting new sadistic boundaries for the genre: the composition of the violent scenes manages to astonish. This sits right on the divide between art house and exploitation and the opening scene announces a text of brutality. It also has a sociopolitical basis with commentary about race that is rare in the genre – apparently it was DeLaurentiis’ idea to have an avenging Indian as protagonist. There is also care and attention to the women, which you don’t find in Leone’s work. For every sadist there must be a masochist and Joe really suffers here so you don’t wince at the prospect of violent revenge, you relish it. Reynolds is brilliantly physical in a way that Eastwood never was – and as for Brando … His role may have filled him with regret but he’s a convincing man on a mission and there would be many imitators (pace Rambo) in the years to come. There’s a nice supporting performance by Nicoletta Machiavelli as Estella, Mrs Lynne’s half-Indian maid and Fernando Rey is typically good as the town’s priest, Reverend Rattigan but it’s Sambrell you’ll recall – and you’ll shudder at the memory of this horrific villain. Written by Piero Regnoli and Fernando di Leo from a story by Ugo Pirro.