Condenados a vivir

Cutthroats Nine, one heck of a bleak movie. Coming out in 1972, spaghetti westerns were no longer at the height of their hype, as most of them became terrible parodies of themselves. Then came along this ultra violent movie by Joanquin Romero Marchent. I for one woulden't call this the most original spaghetti western or paella western (since it's Spanish), but that don't mean it has to be bad. The scenery of where the movie is set is beautiful, which helps the film have a bigger feeling of a claustrophobic tension. Claustrophobic? Why i say that? Because despite it being set outdoors for most of the time, our nine main characters are cut off from the rest of the world and they only depend on each other, in order to survive. Essentially speaking, you don't really see any good characters and even though Spain were not completely fascist during the second world war, you could tell that elements of fascism found it's way in it's script.

As stated earlier, this movie has a claustrophobic vibe throughout the film and making the situation our nine titular characters are involved in even worse are most of the gruesome killings that take place throughout the film, including to the main character, played by Robert Hundar. Spoiler alert but seeing his character dying early on the film by being burned to death, leaving his daughter, played by Emma Cohen, distraught and alone and that part right there deeply affected and it made me realise "These guys have no future".

Overall, the film has good performances, although the dubbing is what one would say as amateur. The soundtrack is chilling, although it does get a little repetitive sometimes and it would have been great if this was way longer then the 90 minutes and make it into an epic 3 hour movie. I know Tarantino is influenced by this movie but it don't really affect the storyline that much. Great and unknown movie to watch.

Conedandos a vivir (1972) was and is marketed purely as a violent exploitation film. Viewers approach it that way and either find it terribly vacant and crude or enjoy those aspects of the movie that are hyped up by hucksters. As the euro-western was widely marketed as violent and cynical, this advertising tactic that often blinds viewers to what is actually occurring on-screen. This is unfortunate as this movie is actually a well thought out and decently executed western that provides the nihilistic capstone to an interesting series of Spanish westerns made in the mid-to-late 1960s and early 1970s. Viewed in that tradition, as the terminal point in a genre narrative that began much earlier in films like Joaquin Marchent's own El Sabor de la venganza (1963), it is a moving and fascinating movie.

Contrary to the reputation of the "Mediterranean westerns" made in Italy and Spain in the 1960s and 70s, these movies are not simply absurd and extreme distortions of the original American genre somewhat like Red River (1948) or Rio Bravo (1959) projected into a hall of mirrors. Instead of warped conventions without significance, these movies contained their own views of society and morality. Many of the westerns written or directed by Spaniards have a very interesting perspective of the nature of violence that is central to plot and character. Violence is a contagion that consumes everything and everyone in it's vicinity. In movies like El Hombre que mató a Billy el Niño (1967), El Sabor de la venganza (1963), or Garringo (1969) victims are transformed into victimizers through the alchemy of good intentions in a corrupt society. There is always a character who has a close personal relationship with the victim-turned-victimizer who both opposes the political corruption and also it's products, including their friend or brother/son. Outlaws are portrayed in bestial terms, a pack dominated by the most brutal one. These movies always end with an ambiguous sacrifice to necessity.

With Condenados a vivir, this formula reaches it's fullest development. Isolated in the wilderness, there is nothing to stall the corrosive assault of brutality. Every member of the group is degraded and virtually every on-screen character is dead by the final credits. Sarah Brown (Emma Cohen) is the only character who opposes this effect in any way, though her response is ambiguous as it involves a hopeless and absolute nihilism. In this series of movies, the typical genre ending of a shoot-out in the street or synonymous act becomes endlessly complicated. The exorcism of violence by violence must, according to the logic of these narratives, only perpetuate the contagion – an inescapable circularity.

This movie has a sort of resurrection of the dead hero in the manner of the Italian brand of western, but here it occurs in the delusions of an insane fugitive. However, whereas in the Italian movies this return-from-the-grave is followed by a sort of liberation of a community, in this movie this is only a guilt-ridden and confused hallucination.

As in most of these Spanish movies, the technical execution lags far behind the narrative sophistication. The "gore-effects" will strike you as laughable if you are in the right mood. However, all-in-all, this movie is a successful and sincere b-movie, and as such I recommend it. With El Sabor de la venganza, this is Joaquin Marchent's best western.

Top spaghetti western list http://imdb.com/mymovies/list?l=21849907

Average SWs http://imdb.com/mymovies/list?l=21849889

For fanatics only (bottom of the barrel) http://imdb.com/mymovies/list?l=21849890

By 1972, the spaghetti western was already past its hay day and was looking for different ways, styles and themes to push the envelope. Cut-Throats Nine belongs to that small variety that brought horror sensibilities to the genre (like Sartana, Django the Bastard and others) but it also took it one step further. Whereas other westerns were content to be dark and brooding in an atmospheric kind of way, Cut-Throats is as violent and graphic as any Italian horror movie from the 70's.

The plot is minimal but quite good. For better or for worse, the director doesn't go for the psychological angle between captor and captives like Anthony Mann's The Naked Spur did, but instead focuses on the violence and nihilism that is the logical conclusion when nine ugly, dangerous criminals chained to each other are transported through the barren, desolate terrain to a nearby fort.

On the western front, Cut-Throats is as bleak and unforgiving as the gritty works of Sergio Corbucci minus the finesse and style of that great cinematician. The feeling is there though. The snowy, rocky landscape, the nihilistic, unredeemable characters, the grit and the violence. There are no heroes and cowboys with white hats here. If John Wayne were to set foot in the western universe Cut-Throats portrays, he would sooner pack his things and find a new hobby like sewing. Much like Hitchcock's Psycho, the person closer to what we could identify as the "hero" is burnt to a crisp 30 minutes in. That's where the movie ultimately succeeds. By being deprived of all certainty, you're left hanging there in the snow with a bunch of ugly cut-throats. Speaking of cutting throats, there's more: people get stabbed, intestines pour out, others are burnt alive, beaten mercilessly, nailed to hooks, get their brains blown out, corpses are burnt, legs are cut off. And with all the same graphic detail one would expect from a gruesome Italian horror from the likes of Fulci or Lenzi. Coupled with the general take-no-prisoners, mean-spirited air that permeates every minute, Cut-Throats is more likely to appeal to exploitation fans than the traditional western crowd.

Intriguing, grim and gritty Spanish Western has a very harsh, uncompromising tone. Sgt. Brown (Claudio Undari), a cavalry officer, is escorting a sextet of lowlife criminals, all of them chained together, across rugged terrain to prison. As it turns out, he has more than one reason for being deeply committed to this task. Accompanying him is his daughter Sarah (beautiful Emma Cohen). However, a gang of bandits intervenes, and they end up having to make their journey on foot.

As the viewer may expect, the forceful personalities of these cretins ensure many angry confrontations along the way. A flop upon its original release, an enterprising distributor came up with the idea, upon re-releasing it, to punch it up by adding a lot of gory business, all of it quite effectively nasty, and providing theatre goers with cardboard masks that they could wear if they couldn't stomach this material. This really didn't help the movie either, but it did acquire a cult following nevertheless.

Making no clear distinctions between "good" and "bad" in terms of its characters, it comes up with a fairly surprising and sadistic twist at about the half way point, and is very compelling for its portrayal of human beings at the mercy of the elements. With exteriors filmed in the Aragonese Pyreneo region of Spain, the scenery is breathtaking and the winter atmosphere genuinely chilling in more ways than one. The characters are interesting and entertaining in their own sordid way, with the actors delivering convincing performances. The music by Carmelo A. Bernaola is good if repetitive, and the frequent use of flashbacks is arresting, with much use of freeze frames. The ending is effectively downbeat, too. The pacing is rather unhurried, yet there are always fine moments, especially around the 67 minute mark as one of the convicts is stumbling through the wilderness on his own.

Western fans looking for something dark, violent, and morally ambiguous might want to check this one out.

Seven out of 10.

Dunno what the last reviewer was on, but this bleak movie was rather good, although very grim and quite gory in places. A neat ending which suited the tone of the rest of the film. Emma Cohen was good in the sole female role, and convincing enough to be scared and unsure of the all male cast. The snowy settings were a good addition, although I agree that the music was too repetitive, and the dubbing unconvincing. But as a macho western, this flick sure kicks arse!....quite disturbing in places. A sort of 'And Then There Were None' for grown ups! The type of movie that would not get made today, and a great addition to any exploitation collectors collection.