Sartana's Here... Trade Your Pistol for a Coffin

On the third sequel of Sartana left by Gianni Garko and was replaced by the akin George Hilton ensures the same pattern, somehow we don't perceived the changing over such sameness on both, the plot is about a stolen gold, Sartana as bounty hunter observes the robbery, discerns the modus operandi of the gang and headed to find the truth, who are stealing who and something like that, a bit complex screenplay, Sartana will finds clues until reach at gold prospecting area, the city is handled by a Baron of gold, sustained by a Mexican gang led by the filthy and bloody Mantras, Sartana offers to Baron himself to protect the gold shipment, he accepts but plays on both sides when he also contracts the skillful quick draw Sabata (Charles Southwood), also a female presence of the Saloon's owner the attractive Trixie (Erika Blanc), the producers and the writer willfully an incongruent proposal on Sartana's character, foster an unmatched abilities and tricks that reduces the genuineness and hence the decaying process of likelihood, on early sequence to extinguish the burning dynamite's wick he throw his water canteen and shoot up on it and all water falling down and cease the fire, many far-fetched and contrived sequences like that were scattered along the movie, thus staying shapeless in many senses, stylized nevertheless too much foolish, whoever insert it doesn't was enough smart certainly!!

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First watch: 2020 / How many: 1 / Source: DVD / Rating: 6.5

Sartana, bounty hunter and gunfighter, witnesses the robbery of a shipment of gold.

He finds his way into town where he meets with a lot of suspicious stares from the locals. He also meets with Samuel Spencer, who seems to own the company in this company town.

The gold shipments are being stolen, so Spencer agrees to hire Sartana to protect the next gold shipment. Numerous dull-witted villains make attempts on Sartana's life, but he survives.

Eventually, Sartana's nemesis Sabbath (he of the white coat and parasol) rides into town. With a showdown inevitable, Sartana and Sabbath square off to settle the score.

I wasn't going to watch this movie because i'm not such a huge fan of spaghetti western, but it's actually quite good. Sartana is a Clint Eastwood clone in looks and acting.

There's more than its share of continual shoot outs to make the movie move along. The story doesn't really matter so much. The action is fun.

It's a mindless but fun 90 minutes.

George Hilton replaces Gianno Garko as Sartana and does a competent job and is very cool as he shoots, bluffs, double bluffs, and triple bluffs his way through this fairly entertaining western. It's standard stuff, and though some times the story elements can be puzzling ( its those double bluffs again), it's keeps one watching. It's OTT, but heys it's Sartana with his bag of tricks ( includes a shooting loaf.) Its fun.

This is a fun movie with interesting characters, and lots of spaghetti western style. I found it very entertaining, although it has some story elements that don't seem to make a lot of sense.

George Hilton does a fine job of portraying "Sartana," the bounty hunter/detective/vigilante more often played by Gianni Garko. Hilton's style is slightly different, but he plays the part equally as well as Garko. The real show-stealer here is Charles Southwood as "Sabbath," a bounty hunter who dresses in all-white, carries a white parasol, and lives by the values taught to him by his mother. Sartana and Sabbath are both oddballs, each in his own way, but Sabbath is so eccentric he makes Sartana look normal. One of the many amusing parts of the film is when Sabbath comes riding into town with his parasol, and one of the townsfolk sees him and says "what's the west coming to?" Sartana and Sabbath play off of each other quite well, and their interactions are fun to watch, especially when they square off near the end of the film.

A great music score by Francesco DeMasi, along with some excellent camera work, help make this euro-western above average in the style department, but the somewhat muddy plot doesn't do it justice. It's basically about how a crooked town boss is taking gold from the local mines and replacing it with sand before it is shipped. Then he hires Mexican bandits to "rob" the shipments so that nobody will know that they were ever replaced with sand. In comes Sartana to save the day, though his motives for wanting to find the gold are selfish. A little while later, Sabbath shows up, supposedly for the same reason. That much is pretty cut and dry, but the problem is with the details. While the basic idea of the scam going on with the gold is easy to understand, some of the actions of the characters in the story don't make any sense, or perhaps aren't explained very well. Maybe the American version is poorly edited. That would explain a lot, but I don't know if it's the case.

The best way to watch it is to sit back, relax and enjoy the cool characters and style of this spaghetti western without trying to make sense out of everything that happens. When viewed with that attitude, it's actually one of the more memorable and entertaining films of the genre.

There's so much insane gun play in this film I was hardly in need of a plot. At one point, there's a bandit lighting matches stuffed between his toes for a laugh, and then along comes Sartana, knocks the guy out by shooting a sign that falls on the guy's head, then Sartana lights the last match by shooting it, then sparks up a cigar using the match! Why didn't this film win dozens of Oscars?

You've got Sartana after gold, the bandits after gold, some shady businessmen after gold, the gold miners after their own gold (how dare they!), and a bar owning chick...after gold. Oh, and another gunslinger called Sabbath after gold. He carries a white parasol, reads Shakespeare's sonnets, and constantly refers to his mother. Again, why no Oscars?

There's also a running gag where the bandits constantly try to get the drop on Sartana, but Sartana's always got a pistol hidden somewhere. I can't think of a single slow spot in this film at all, and Stelvio Massi's hyperactive camera-work coupled with Carnimeo's direction make for one of the more entertaining Italian Westerns.