IMDb RATING
6.3/10
923
YOUR RATING
Mann, a gunman, learns his father was murdered by his mother and her lover. His childhood friend informs him, while Mann's sister is controlled by their murderous mom. Mann and his friend co... Read allMann, a gunman, learns his father was murdered by his mother and her lover. His childhood friend informs him, while Mann's sister is controlled by their murderous mom. Mann and his friend confront the mother to settle the score.Mann, a gunman, learns his father was murdered by his mother and her lover. His childhood friend informs him, while Mann's sister is controlled by their murderous mom. Mann and his friend confront the mother to settle the score.
Pilar Velázquez
- Isabella Carrasco
- (as Pilar Velazquez)
José Suárez
- General Juan Carrasco
- (as José Suarez)
Barbara Nelli
- Conchita
- (as Barbara Nelly)
Mirella Pamphili
- Inez
- (as Mirella Pompili)
Franco Gulà
- Preacher
- (as Francesco Gula)
José Riesgo
- Francisco Henchman
- (as José Riesco)
Omero Capanna
- Hitman
- (uncredited)
Storyline
Did you know
- TriviaBased on the ancient Greek myth of the events in the House of Atreus, as dealt with by the fourth-century BC Athenian tragedians: Aeschylus, in his trilogy, 'The Oresteia'; Sophocles, in his play, 'Electra'; and Euripdies, in his play, 'Electra'. The story, however, is much older, appearing also in Homer's 'The Odyssey', albeit in much less detail. According to the myth, Agamemnon is assassinated upon his return home from the war at Troy by his wife Clytemnestra and her lover Aegisthus, Agamemnon's cousin. In Aeschylus, Orestes, Agamemnon's son, is sent as a boy by Clytemnestra to an old family friend and ally in Delphi, far enough from the royal palace in Mycenae/Argos to be both safe and not a threat. In Sophocles, Orestes is entrusted by his older sister, Electra, to an old slave who flees and raises Orestes in secret. Some years later, Orestes secretly returns as a young man, intent on revenge, alongside his friend Pylades. The plays vary in their respective representations, but ultimately Orestes and Electra are re-united, Orestes forms a plan to kill Clytemnestra and Aegisthus, and Electra wholeheartedly supports the plan. A false report of Orestes' death is given to Clytemnestra and Aegisthus (in Aeschylus, Orestes himself poses as the messenger; in Sophocles, it is the Old Slave, while Orestes poses as an attendant carrying the urn of his own supposed ashes). Once in the palace, Orestes, supported by Pylades, murders Clytemnestra and Aegisthus. In Sophocles, the play ends here, and the audience is left with the sense of the figurative death of both Orestes' and Electra's humanity through the destructive vendetta. In Aeschylus, Orestes is driven mad by the avenging Furies over his act of matricide, and eventually goes on trial in Athens.
- GoofsAt 2 minutes a mounted bandit, having fired at a lone rider, rides down a hill wearing a black serape over his right shoulder. At 3 minutes when he arrives at the bottom of the hill and is shot the serape is gone.
- ConnectionsReferenced in ...And Give Us Our Daily Sex (1979)
Featured review
The DVD I've ordered features the film (Il Pistolero dell'Ave Maria) in its original Italian language. Some aspects of the story may have been changed in the English language version.
I will tell you just the very beginning of the story. I only want to give you a taste of the film. There will be no real spoilers (I think).
A lone rider going through a canyon. Up on the cliffs horsemen watching him. Close-ups of their faces, hands ready for action. The scene is enhanced by a hauntingly beautiful score.
The rider is Rafael (Pietro Martellanza). As a boy he had worked in a hacienda in Mexico. The owner of the hacienda was absent fighting against the french. For those that have no knowledge of the history of Mexico, very simplistically told, the french had invaded Mexico in 1861 and installed Maximilian of Habsburg in power. He became the emperor of Mexico! The french rule lasted until 1867, when the Mexicans led by Benito Juarez, expelled the french and shot the Emperor. Crazy, ain't it?
Coming back to the film, Rafael worked in this hacienda that belonged to the Carrasco Family. The patriarch and owner of the hacienda, General Juan Carrasco, was absent fighting against the french. Rafael was the best friend of his (the general's) son Sebastian (Leonard Mann), and loved and was loved by Sebastian's sister, Isabella (Pilar Velazquez). Children, the three of them. But while General Carrasco was away fighting the french, his wife Ana (Luciana Paluzzi) was having an affair with the hacienda's foreman, Tomas (Alberto de Mendoza). After the french had been defeated, General Carrasco returns home and is received in high style by everyone in the hacienda. A party is held to commemorate his return. Suddenly... betrayal and tragedy.
The characters are scattered to the four winds. Years pass and the dust seems to have settled down, but a chance meeting will rekindle old memories. The day of reckoning has arrived.
This story almost seems a Mexican melodrama, but it's filmed with a grandeur and style that's unique. The party that is held in homage to General Carrasco, when he returns from the war, with its dancing, singing and eating, is flamboyantly portrayed. The same holds true for the scene in which a character enters a small Mexican village where a celebration is taking place in the streets ... firecrackers, people laughing, singing ... Then the saloon, with wild and beautiful women dancing barefoot on the counter... Ferdinando Baldi is very skilled in telling a story by way of images - editing, framing, close-ups, music ... everything adds up to create the right atmosphere and the proper emotion. It's true that sometimes he goes overboard, as he proved with the completely over-the-top film's ending, that's so operatic, so melodramatic, as to put even the wildest Mexican melodramas to shame.
A good, well-told story featuring beautiful women (Luciana Paluzzi, Pilar Velazques and many others), sunny, dry landscapes, and a wonderful soundtrack. I didn't like so much the ending, though, with its fire and brimstones conclusion, but this is a matter of taste. Highly recommended if you like your spaghetti hot and wild.
I will tell you just the very beginning of the story. I only want to give you a taste of the film. There will be no real spoilers (I think).
A lone rider going through a canyon. Up on the cliffs horsemen watching him. Close-ups of their faces, hands ready for action. The scene is enhanced by a hauntingly beautiful score.
The rider is Rafael (Pietro Martellanza). As a boy he had worked in a hacienda in Mexico. The owner of the hacienda was absent fighting against the french. For those that have no knowledge of the history of Mexico, very simplistically told, the french had invaded Mexico in 1861 and installed Maximilian of Habsburg in power. He became the emperor of Mexico! The french rule lasted until 1867, when the Mexicans led by Benito Juarez, expelled the french and shot the Emperor. Crazy, ain't it?
Coming back to the film, Rafael worked in this hacienda that belonged to the Carrasco Family. The patriarch and owner of the hacienda, General Juan Carrasco, was absent fighting against the french. Rafael was the best friend of his (the general's) son Sebastian (Leonard Mann), and loved and was loved by Sebastian's sister, Isabella (Pilar Velazquez). Children, the three of them. But while General Carrasco was away fighting the french, his wife Ana (Luciana Paluzzi) was having an affair with the hacienda's foreman, Tomas (Alberto de Mendoza). After the french had been defeated, General Carrasco returns home and is received in high style by everyone in the hacienda. A party is held to commemorate his return. Suddenly... betrayal and tragedy.
The characters are scattered to the four winds. Years pass and the dust seems to have settled down, but a chance meeting will rekindle old memories. The day of reckoning has arrived.
This story almost seems a Mexican melodrama, but it's filmed with a grandeur and style that's unique. The party that is held in homage to General Carrasco, when he returns from the war, with its dancing, singing and eating, is flamboyantly portrayed. The same holds true for the scene in which a character enters a small Mexican village where a celebration is taking place in the streets ... firecrackers, people laughing, singing ... Then the saloon, with wild and beautiful women dancing barefoot on the counter... Ferdinando Baldi is very skilled in telling a story by way of images - editing, framing, close-ups, music ... everything adds up to create the right atmosphere and the proper emotion. It's true that sometimes he goes overboard, as he proved with the completely over-the-top film's ending, that's so operatic, so melodramatic, as to put even the wildest Mexican melodramas to shame.
A good, well-told story featuring beautiful women (Luciana Paluzzi, Pilar Velazques and many others), sunny, dry landscapes, and a wonderful soundtrack. I didn't like so much the ending, though, with its fire and brimstones conclusion, but this is a matter of taste. Highly recommended if you like your spaghetti hot and wild.
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