Amore, piombo e furore (1978) Reviews

• Another Excellent Monte Hellman Western-Jenny Agutter Fans will Love It

  aimless-462006-01-22

  "There ain't no soft-hearted gunfighters" says Matthew Sebanek (Warren Oates) to Clayton Drumm (Fabio Testi) late in Monte Hellman's lyrical western "China 9 Liberty 37" a/k/a "Amore, piombo e furore". The English title reflects the words on a crossroad's sign shown at the start of the film. Hellman fans will be happy to finally find this film available on DVD, as a 2005 release by Mill Creek Entertainment. Although the IBDb does not yet link to it, Amazon has it listed as "China 9 Liberty 37/Gone With the West". The second movie on the DVD, "Gone With the West" (a/k/a "Little Moon and Old Jug"), is a James Caan-Sammy Davis Jr. western best described as "The Rat Pack on LSD". It is a horrible western made even worse by the condition of the print they used to make the DVD, but it does feature one of the most intense cat-fights in cinema history. The print for "China 9" is a bit better but suffers from a poor "pan and scan" full-screen treatment and weak audio tracks. It also has some editing glitches, which probably resulted from the need to cobble together a decent print for transfer to DVD. And I suspect the original release was longer than this 98minute version. Hellman and Oates also collaborated on "The Shooting" and if you enjoyed that effort you should really like "China 9". In "China 9" Oates plays a retired gunfighter mining gold on land he refuses to sell to the railroad. Testi (the best of a long line of English-challenged pretty-boy European actors who worked in the western genre in the 60's and 70's) is hired by the railroad to kill Oates. But the two gunfighters hit it off and Testi refuses to complete the job. In the meantime Oates' wife Catherine (Jenny Agutter) comes on to Testi. They run off together believing she has killed Matthew, but he survives and begins to hunt them down. To add additional complications to the story, the railroad recruits a squad of gunfighters to kill both Matthew and Clayton. Clayton Drum is good western hero. Although he drinks a lot of cocaine based tonic, he maintains his professional integrity and refuses to sell out to the wild west show promoters or the dime novelists. The world may be changing and making him irrelevant, but he sticks to his principles. "My life is not for sale". Fans of "The Hunting Party" will find a familiar storyline, Fellini fans will find a nice homage to their favorite director, and Sam Peckinpah fans will find an actual appearance-while a small speaking part it is more than just a cameo. The action sequences are extremely well staged, although the effects are on the cheap side. The action in the big final showdown scene is totally credible and leaves one wondering why other directors can't exercise their imaginations and come up with equally plausible shootouts. Plus there is an extremely nice twist to the story's resolution that you don't see coming. Finally, Hellman goes out on a slick "mise en scene" shot that actually advances the story a final notch. "China 9" is an absolute must-see for fans of Jenny Agutter. Hellman liked to give his films an overexposed grainy look (as if the film stock was pushed a couple of steps in processing). Combined with minimal makeup this gave his heroines a strikingly haunting and earthy beauty, check out Millie Perkins in "The Shooting" and "Ride the Whirlwind". Like Perkins, Agutter has never looked better and is more than credible as the catalyst of this love triangle. Then again, what do I know? I'm only a child.

• A Few Corrections

  azjimnson2010-07-20

  A lot of misinformation in some of the other reviews. The character who began to make the, "As long as I've got a face," remark--which was never finished-- was the the younger brother of Oates' character. The last name of Fabio Testi's character, who was nothing but respectful in his comments to Jenny Agutter's Catherine, was Drumm, not Jones. I do agree the score was not good, and I suspect Hellman had little control over that. He wasn't in a position of power after the brilliant "Two Lane Blacktop" flopped. It was coal, not oil, that Matthew (Oates) was counting on to make him rich. And Drumm did not "constantly drink cocaine laced whiskey." He had one bottle of it given to him by the owner of the circus. If I recall this was before the second lovemaking scene in the hotel, and cocaine, for those who don't know, makes one very amorous. I think it was meant as a joke. All that said, I have to agree this not a great Hellman film, and his approach was probably too contemplative for most fans of spaghetti Westerns. Even though the final shootout is more typical of the genre. I love the chief bad guy saying. "This didn't go so well," just before he attempts to surrender and Oates shoots him. It's a measure of Oates' skill as an actor that he manages to gain our sympathy for Matthew, even after admitting having killed a whole family, "right down to the dogs, the cats, and the chickens," for the railroad. I was surprised by Katherine's decision to stay with Matthew (though she really had little choice), and that final scene must have looked amazing in the original Technovision 235:1 frame. I think it symbolized that Oates was finally cutting his ties with his past completely. I think he was sincere when he told Catherine, "No one will hurt you again," meaning he wouldn't. Fabio Testi's accent was thick, but I give Hellman credit for not dubbing him, and for adding a back story about Drumm coming to the USA after his grandparents' death to explain it.And, yes, I think the West was full of people with nearly indecipherable accents. I've lived in the West for near to 20 years, and still can't understand some of the old timers.

• Another minor gem in Monte Hellman's filmography

  chaos-rampant2009-03-25

  Named after a mysterious signpost in Beaumont, southeast Texas, set between U.S. 90 and the adjacent Southern Pacific railroad tracks, that inexplicably reads "China 9 Liberty 37", with the genre fading quick into obscurity in both sides of the Atlantic, this, Monte Hellman's and Warren Oates' final western, seems to be trying to succeed despite itself, setting pitfalls for itself and falling into them but still somehow remaining a formidable picture, not just worthy of bearing Monte Hellman's name (a vastly under-appreciated American auteur with an incredible run in the early 70's that saddly never took off) but doing justice to it. If the movie can work despite Fabio Testi's unintelligible Italian accent, then it can overcome almost everything. I say almost because Pino Donaggio's score (a jumbled mess of muzak apart from the fitting opening credits theme that seems to be consciously channeling Morricone) defies overcoming and Hellman's inexplicable fixation to not only squeeze a heartfelt romance out of two actors (Testi and Jenny Agutter) who simply don't have it in them to look "in love" but to go ahead and film not one but two long "making love" scenes, y'know, the ones where the two lovers are lost passionately in each other's eyes, kiss like fishes and rock back and forth in a rhythmic staccato all of which is played to horrible "making love" muzak, threaten to throw the whole thing permanently off. But just when you think he's lost control, all Hellman needs to do to suck the viewer back in is cut to Warren Oates. A man not only made from that late 60's mold of cinematic badass but also a naturally charismatic actor who gave some truly electrifying performances for Hellman (COCKFIGHTER and TWO-LANE BLACKTOP), Oates, as the grizzly homesteader fighting the railroad company he once worked for that is now trying to steal his land, makes the movie, has the gravitational pull to keep everything together. Even in his early 50's he has so much charisma he can spare some for bland hunk Fabio Testi. With the spaghetti western dead by 1978 (the last major release was MANNAJA the previous year - and the Italian genre industry moving on to a not-so-eclectic mix of MAD MAX and JAWS rip-offs to sustain itself in its waning years, before the advent of home video and movies opening worldwide killed it off) and Clint Eastwood continuing to carry the American western on his shoulders almost single-handedly, China 9 Liberty 37 is more of a throwback to Hellman's previous westerns, a particular niche unto themselves that take from both national western schools but subscribe to neither, than anything contemporary, certainly not as violent and cynic as most 70's westerns. Seen with regards to an overall oeuvre, China takes its proper place somewhere between THE SHOOTING and RIDE THE WHIRLWIND. More the sum of their author's fixations, clearly works bearing a distinct auteurial mark, Hellman's westerns seem like the late 60's equivalent of Budd Boetticher's Ranown westerns. The minimalism of the plot, the isolated settings, the lone female characters... but that's for another post.

• Interesting, if far from perfect, Western.

  mitcj2001-10-06

  This moves at an unhurried pace, and you may feel as if you've seen much of it before, especially if you're a spaghetti western fan. But it's worth seeing for the character played by Warren Oates, a former gunfighter whose behavior swings from the sympathetic to the unforgivable and almost back again. In a modest Western like this, it's a pleasant surprise to see ambiguous characters. So that his conflict with Fabio Testi, a younger gunfighter who steals Oates' wife, is full of uncertainty. For all the familiar trappings, you're uncertain how it will end; and that should keep you watching. As the object of desire, Jenny Agutter is constrained by a mumbling Irish brogue and an under-written part. But you can see why Testi is smitten with her. Bottom line: see this for Oates, a great actor in a worthy role.

• "I had a feeling you were gonna be trouble".

  classicsoncall2010-11-06

  I always enjoy reading the reviews on this site because I learn so much about films like this, the genre they represent and the impact they might have had on other movies, actors and directors. For my part, I've seen a fair number of spaghetti Westerns but I'm no expert. All I know is, once a midget shows up, there's a circus usually not far behind, followed by impossibly choreographed acrobatics that mesh into some kind of fight scene. Surprisingly, that wasn't the case here. Sure the midget and the circus made an appearance, but what knocked me out of my chair were those strategically placed love scenes; three of those must be some kind of record. Jenny Agutter in the nude was not what I was expecting on the Encore Western Channel in prime time, and I don't know whether to be shocked or surprised by that. But it does hold one's interest. Some advice if I may for those reviewers who had a hard time following the dialog. I had no trouble, even with Fabio Testi's accent, once I enabled the sub-titles option on my TV. I do that now as a general precaution for just such an eventuality. Surprising what a good job some captioners do, providing dialog you don't even hear at all sometimes. Always great to see Warren Oates in one of his classic TV Western appearances, so catching him here in a lead role was twice the treat. That was a cool move showing Clayton Drumm (Testi) how fast he was with a gun in that early set up. Made you wonder what would happen once the real thing came around. Worth the wait I would say. Where the movie takes a refreshing break from the hero getting the girl occurs at the finale here when Drumm simply rides off into the sunset - alone! What a heel! But at least he stayed true to character instead of wimping out for the traditional 'settle down and let's have kids' happy ending. I wonder if that midget made out any better.