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I must confess to "umming and ahhing" a fair bit as to whether I really wanted to see this film. I've got nothing against James Garner, but he just didn't say "spaghetti western protagonist" to me. He doesn't have that certain "kill" look in his eye (think Eastwood, Nero, Gemma, Steffen et el). However, having always respected Howard Hughes' "Essentials" book, this was one of the few films that he had covered so far that I had not seen - and his recommendations had generally not disappointed. I am really glad that I did dispel these initial reservations, because Man Called Sledge makes great viewing from beginning to end.

Luther Sledge (Garner) is introduced to us as he enters a bar with one of his cohorts. Leaving his colleague to participate in an ill-fated card game, Sledge reunites himself with his lover Ria (Laura Antonelli). After a night of passion (lucky man!) he is woken by the sound of a gunshot. He returns to the bar to find his partner dead, and forced to defend himself against the killers. An old timer witness (John Marley) confirms that Sledge has merely defended himself.

Sledge and the old timer soon cross paths again, with the former assuming that he is being tracked due to the price on his head. However, it soon transpires that the old man has been spying on a delivery of gold. This gold is transported by a posse of armed guards and stored in a top security prison overnight. The old man recounts how he spent time in the jail, with his cell sitting side by side to the safe.

The lure of the gold is too much for Sledge, and he is soon devising a scheme to get his hands on the horde and allow him to settle down and lead an honest life with Ria. And what better way to get access to the treasure than to find ones self imprisoned in the jail......

A simple yet highly enjoyable idea for a story, with double crossing aplenty and a cracking soundtrack. If truth be told, I am still not completely sold on Messrs Garner and Weaver in the spaghetti genre, but the film itself more than makes up for such minor grumbles. There are some great scenes, with Sledge's wilful imprisonment (with some very shady characters forming his prison mates) a particular highlight.

Highlighly recommended, and grasping at a possible "must view" berth.

Any film with a title as memorable and eye-catching as "Heads You Die, Tails I Kill You" has a lot to live up to. Luckily this one does.... well, for the first half at least.

The story centres around George Hilton's character named "Halleluyah" (thus the films alternative title "They Call Me Hallelujah"). He has been hired by Mexican general Ramirez (Roberto Camardiel) to steal jewels from the army, allegedly to help fund the revolution.

The beginning of the movie is very strong, as Ramirez is led to the firing line by the army, to Ciprani's fantastic score. Some onlookers are already grieving, but proceedings are intervened when Halleluyah appears with his very novel machine gun. Great stuff.

The plot has more twists and turns than, ummmmm, a very twisty turney thing! It is not just Halleluyah searching for the jewels, but a secret agent disguised as a Nun (Agata Flori), the Russian Alexei (Charles Southwood) and a gang of arms dealers led by Fortune (Paulo Gozlino).

Whilst the movie is a real roller-coaster of a ride, it does reach new levels of stupidity with the introduction of Alexei. As I said at the beginning of this write up, the film doesn't disappoint - it just (in my opinion) has one eccentric character too many. This makes the second half just a bit too farcical to me at times.

Most of the best scenes are based around Halleluyah's interaction with the gang - particularly near the beginning where disguised as monks they successfully steal the jewels (and soon face a confrontation with "Brother" Hallelujah). There is also a hilarious scene in which our hero poisons the gang's food, resulting in much belly ache and diarrhoea enforced swift exists! As far as the cast are concerned, Hilton makes a good leading man for the less serious westerns. Regular spaghetti stalwart Federico Boido is also well cast as the weasel like gang member Slocum.

I would definitely recommend this film (despite my reservations about the Russian!). It is a well plotted, good fun view, with enough double crosses and twists to keep you interested and entertained throughout.

Set in 1830's Texas, Erastus 'Deaf' Smith (Anthony Quinn) is an ageing but trusted spy for the president, despite the obvious handicap of being a deaf mute. His friend and companion is the sexually charged Spaniard Johnny Ears (Franco Nero), seemingly on a constant mission to obtain another notch on his bed post (or should I say, someone elses!). In fact, unlike your usual Spaghetti Western hero, he is probably more likely to be found in bed than in a bar brawl or gunfight.

The two have been sent by the president to halt the uprising down south, where a rebel by the name of Morton is rallying a rebellion to create independence and domination, with the help of German backing.

The whole emphasis of the story is the great bond between Nero and Quinn, which is quite enjoyable throughout. Comically, Johnny Ears is constantly throwing stones at the laid back Smith in order to get his attention. Ears' relationship with the luscious local whore Susie (Pamela Tiffin) is also a fine display of character play, as their interplay changes from flirtation to sexual tension, and from lust to love. Hell, by the end, Ears seems willing to quit his womanising ways and settle down with the blonde beauty.

There are entertaining one-liners throughout (all obviously left to Nero, who is in fine comic form). As for Quinn, the whole idea that a deaf gunhand can survive and be held in such esteem is entertaining in itself (as he walks away completely unaware of the explosions metres behind him, and sneaks up on opponents oblivious to the fact that the bells on a whores garter - given to him whilst he awaited the return of the promiscuous Ears from the local brothel - are jangling together).

Aside from these highlights, the film is fairly average fare. At times Smith's inability to communicate can be as frustrating to the viewer as it must be to Smith himself. The Director does however highlight this disability to some effect, with silence at any time when the story is shown from Smith's eyes. Too much weight is also placed on the final action-packed climax, which goes on for an age with a maximum explosion count (although it does contain a priceless moment when Ears is unable to operate the enemies' machine gun - a skill mastered to great effect by Nero's Django).

In summary, this is an entertaining little film, high on cheese but low on substance. And there are days when that is exactly the sort of "popcorn" movie that you want to watch. If you are in that mood (I was) you will probably enjoy it (I did!). But it is definitely more "watchable" than "recommended".