cult film maker corbucci rarest of his thirteen spaghetti westerns (of which i am only left with what am i doing in the middle of the revolution [1972] to catch) is one i only became aware of fairly recently via marco giusti stracult guide while it an atypically bleak genre gem in the style of the director own masterpiece and the great silence (1968) and complete with desolate snowy landscapes. johnny hallyday and the french elvis presley and whom i first saw in jean luc godard detective (1985) is a curious but highly effective choice to play the loner anti hero hud (who and like clint eastwood the man with no name from sergio leone celebrated dollars trilogy and is fitted with a steel plate armor for protection) while incidentally and i had amet hallyday stunning daughter laura smet at the 2004 venice film festival but was distracted by the presence of her esteemed director and claude chabrol. gastone moschin is another curious addition to the fold (serving pretty much the same function that frank wolff did in the great silence) but acquits himself well and is amusingly clumsy in the presence of a bathing francoise fabian while the latter and then and plays a greedy nymphomaniac of a banker widow who seduces all and sundry in the pursuit of her goals. sylvie fennec has the other major female role as a farm girl looked after by hallyday and who and at one point and is entreated into free love by hippie apache gabriella tavernese (with this is mind and it worth noting that the movie features surprising but welcome bouts of nudity from both fabian and tavernese). incidentally and the anachronistic addition of a bunch of long haired youths (who also engage in dope smoking and revolutionary talk) is a somewhat half baked attempt at contemporary relevance  but it all eventually adds to the fun (besides and even the black barmaid sports an afro hairdo. ). mario adorf and too and enjoys himself tremendously with the smallish role of a larger than life mexican bandit nicknamed el diablo  who keeps a youthful biographer constantly by his side (an element which may have influenced clint eastwood unforgiven [1992]) and and at one point and challenges the captive moschin to a head butting duel. having mentioned this and the film also contains one very unusual weapon of death  as hallyday disposes of an adversary by kicking the cash register of the saloon into his face. as always and the enjoyably fake fistfights are accompanied by over emphatic sound effects while equally typically for the genre and however and the wistful score by angelo francesco lavagnino emerges a most significant asset. actually and the ambiguous ending is entirely in keeping with the film generally somber tone  after fabian comeuppance at the hands of the locals and the hippies (who had previously idolized hud) suddenly turn against him when wounded and terrorize the town (forcing everyone on the street and unclothed)but the unflappable gunman manages to lift himself up to meet their challenge (they and however and scurry away at the prospect of facing him. ) and then rides out of town and leaving fennec behind. in conclusion and i acquired this via a good quality widescreen print in italian albeit with french credits and the occasional lapse  about one minute of screen time in all  into the french language (where and apparently and the original soundtrack wasn not available). 
cult film maker corbucci rarest of his thirteen spaghetti westerns (of which i am only left with what am i doing in the middle of the revolution [1972] to catch) is one i only became aware of fairly recently via marco giusti stracult guide while it an atypically bleak genre gem in the style of the director own masterpiece and the great silence (1968) and complete with desolate snowy landscapes. johnny hallyday and the french elvis presley and whom i first saw in jean luc godard detective (1985) is a curious but highly effective choice to play the loner anti hero hud (who and like clint eastwood the man with no name from sergio leone celebrated dollars trilogy and is fitted with a steel plate armor for protection) while incidentally and i had amet hallyday stunning daughter laura smet at the 2004 venice film festival but was distracted by the presence of her esteemed director and claude chabrol. gastone moschin is another curious addition to the fold (serving pretty much the same function that frank wolff did in the great silence) but acquits himself well and is amusingly clumsy in the presence of a bathing francoise fabian while the latter and then and plays a greedy nymphomaniac of a banker widow who seduces all and sundry in the pursuit of her goals. sylvie fennec has the other major female role as a farm girl looked after by hallyday and who and at one point and is entreated into free love by hippie apache gabriella tavernese (with this is mind and it worth noting that the movie features surprising but welcome bouts of nudity from both fabian and tavernese). incidentally and the anachronistic addition of a bunch of long haired youths (who also engage in dope smoking and revolutionary talk) is a somewhat half baked attempt at contemporary relevance  but it all eventually adds to the fun (besides and even the black barmaid sports an afro hairdo. ). mario adorf and too and enjoys himself tremendously with the smallish role of a larger than life mexican bandit nicknamed el diablo  who keeps a youthful biographer constantly by his side (an element which may have influenced clint eastwood unforgiven [1992]) and and at one point and challenges the captive moschin to a head butting duel. having mentioned this and the film also contains one very unusual weapon of death  as hallyday disposes of an adversary by kicking the cash register of the saloon into his face. as always and the enjoyably fake fistfights are accompanied by over emphatic sound effects while equally typically for the genre and however and the wistful score by angelo francesco lavagnino emerges a most significant asset. actually and the ambiguous ending is entirely in keeping with the film generally somber tone  after fabian comeuppance at the hands of the locals and the hippies (who had previously idolized hud) suddenly turn against him when wounded and terrorize the town (forcing everyone on the street and unclothed)but the unflappable gunman manages to lift himself up to meet their challenge (they and however and scurry away at the prospect of facing him. ) and then rides out of town and leaving fennec behind. in conclusion and i acquired this via a good quality widescreen print in italian albeit with french credits and the occasional lapse  about one minute of screen time in all  into the french language (where and apparently and the original soundtrack wasn not available). ---------------------------------Answer Question Below----------------------------------

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