The Mercenary

One of Corbucci's better westerns. The story concerns a bandit (Musante) who wants the legitimacy of being a "revolutionary", but needs the help of a hardened professional (Nero) to do it. Palance gives the movie some of its best moments as a gay gunslinger ( a rival mercenary) out to revenge himself on Musante for humiliating him. Not much plot, but Corbucci's fluid direction keeps it from growing stale and the god performances from the stars make it worth watching. Also look for fun, cynical dialogue and story elements from genre expert Vincenzoni. Contains the dark undertones present in other Corbucci (and Leone) westerns, but not to as great an extent as his masterpiece, "The Great Silence".

The second collaboration of Sergio Corbucci, the Italian Western's most important director besides Sergio Leone, and Franco Nero, one of the genre's greatest actors, after the ingenious "Django" from 1966, "Il Mercenario", a movie set in the time of the Mexican revolution, and therefore late for a Western, is a must-see for every fan of the genre.

Sergei Kowalski (Franco Nero) gets hired by short-tempered revolutionary Paco Roman (Tony Musante), in order to help his squad of unexperienced rebels with their campaign for a free Mexico. While Paco is a crook, but also an idealist, becoming more and more idealistic after his troop is joined by beautiful and idealistic Columba, a woman whose father was a revolutionary , the Polish is a typical anti-hero, witty and cool and somehow sympathetic, but mainly concerned on his own benefit.

The acting is great, specially Franco Nero as the Polish, and Jack Palance's performance as one of the villains. Another villain is played by Eduardo Fajardo, who played the villainous Major Jackson in Django. The score of this movie, composed by Ennio Morricone, is just brilliant (how couldn't it), the cinematography is great as well as the locations. My favorite film by Corbucci is still the incomparably brilliant "Il Grande Silenzio" ("aka. "The Great Silence") of 1968, "Django" of 1966 being my second-favorite due to its immense entertainment- and cult-value. Maybe not quite as brilliant as "Il Grande Silenzio" and not quite as influential as "Django", "Il Mercenario" is nonetheless an exceptional Spaghetti Western with a great sense of humor that I would recommend to everybody, not only genre fans. 9 out of 10!

Franco Nero, sporting a burly mustache and sideburns, stars as Segei `The Pollack' Kowalski, an angelic opportunist, who, for profit not nobility, helps a revolutionary, Paco (Tony Musante), overthrow the corrupt Mexican generals. It is a very good Spaghetti Western, with a nice pace, good action, and interesting characters playing off one another. Jack Palance is Curly, an obviously gay bad guy, whose prissy demeanor hides his ruthlessness- that is until he kills his own partner out of spite and blows a few men's heads off. The story starts with Nero establishing his badassness while catching a dice cheat, forcing the gambler to eat the dice and saying, "When you get them back, I suggest you dont use them again." He is then hired to help protect a trainload of silver make it through rebel territory to the States. Nero goes to the mining town only to find it overthrown by Paco and his gang, and the mine collapsed. Nero luckily finds himself able to offer his help to the rebels and guide Paco in the art of stealing, strategically avoiding, and attacking the corrupt army, eventually overthrowing it. But, mostly it is not a buddy-buddy relationship, Nero is in it for the money, Paco is in it for the righteousness, yet they both respect each other. (To give a good example, at one point, while crossing the desert, Nero makes Paco and the revolutionaries empty their canteens so he can have a shower while they go thirsty.)

Aside from nice bits of humor, it sports some religious allusions, such as, Paco begins with only twelve men + Nero (their Jesus), they masquerade at one point during a religious parade and attack while dressed as angels and virgin Mary's, as well as Nero being strapped to a t-shaped cross when captured. There is also a nod to Macbeth when Paco's woman uses his power drunk naiveté to convince him to turn against Nero. The film makes use of an obviously fairly high budget, with many large battles, crowd scenes, entire towns destroyed, planes bombing, and many locales. It has an interesting structure, since the bulk of the film is told in flashback before returning to the beginning and then reaching the grand finale. The Morricone score is great, and amazingly enough, very understated. Corbucci's direction has never been better.

(Any film that opens with a shot of a dwarf clown dressed like a matador, you just know is going to be good)

Last week, I came across a sale of Italian DVDs of several Spaghetti Westerns; I managed to purchase 4 of them and, being one of 2 I hadn't watched before, this ended up as the first I checked out.

Actually, I had missed this on late-night Italian TV; considering that a similar 'political' Spaghetti Western directed by Corbucci and co-starring Franco Nero and Jack Palance, namely COMPANEROS (1970), had been a bit too much tongue-in-cheek for my taste, I expected this to be in the same vein. However, while certainly lighthearted in comparison with Corbucci's DJANGO (1966; which I should revisit again in a couple of days) and especially THE GREAT SILENCE (1968), it's a more balanced proposition than COMPANEROS (particularly with respect to Palance's performance - quietly menacing here as opposed to the campiness of the later film) and, thus, superior to it in practically every way.

Nero has already matured quite a bit from the youthful gunslinger in DJANGO; here, he's basically playing a variation on Clint Eastwood's iconic Man With No Name figure in Sergio Leone's "Dollars Trilogy" (incidentally, Nero's own voice resembles that of Enrico Maria Salerno - who used to dub Eastwood in those films!). Indeed, the ongoing game of cat-and-mouse revolving around Nero, Palance and Mexican revolutionary Tony Musante is clearly inspired by the tricky relationship that went on between Eastwood, Eli Wallach and Lee Van Cleef in THE GOOD, THE BAD AND THE UGLY (1966)! This is most evident in the numerous scenes where the taciturn Nero gets the brash Musante out of trouble or, conversely, 'sells' him to the authorities...and even more in the rather splendid showdown between the three characters, undoubtedly the film's highlight - given another dimension by being set in a bullring with Palance sporting a wig (he's nicknamed Curly!) and Musante made up as a clown!!

Despite her belated entrance in the film, Giovanna Ralli makes quite an impression as a fiery Mexican woman who hitches up with Musante; Euro-Cult and Spaghetti Western regular Eduardo Fajardo is also on hand as the requisite figure of oppression (who, at one point, is made to eat a living lizard by Musante!). While the comedy never quite descends into spoofiness and the political content is thankfully downplayed, the action sequences are very well handled...and the film is further blessed with a memorable theme tune by the one and only Ennio Morricone (with a little help from his friend and protégé Bruno Nicolai).

This film was actually one of my favorites at a student movie theater really many years ago. It was kinda cult and thus shown quite often and the audience could have been always the same. Like many of Corbucci's works it has frequent showings on German TV. IL MERCENARIO is very comparable to the better COMPANEROS which has particularly a much better cast. It's another buddy western with a Nordic (blond) and a Mexican guy where the first is cool and intelligent and the other hot tempered and rather low witted. Compañero Milian is much slicker than Musante who many times prevails just as a fool and is closer to Tuco Ramirez of THE GOOD, THE BAD AND THE UGLY. Nevertheless Musante feels more realistic as a peasant than the grimacing Milian. Nero is more dominating in his role as the mercenary of Polish origin than as the Swedish Peterson of COMPANEROS. He is never really convinced of the revolutionary values. Curly/Ricciolo (Jack Palance) seems pretty superfluous for the plot and serves as a comic relief character with an extra portion of sadism. In the absence of a real lead villain he enters the final duel.

The pace of the film is fast and the excellent (maybe Morricone's best) and rousing score supports the generous action. Machine guns are roaring and counting the bodies falling seems pretty impossible. Impressing wide screen photography immerses the viewer.

9/10 with a slight nostalgic bonus. Top 10 Spaghetti Western.