Talk about overlooked movies. I wasn’t aware until just recently that there was an offical sequel to Sergio Corbucci’s classic spaghetti western, DJANGO. I say official as opposed to the tsunami of ripoffs that came after the success of the original. Some thirty-one films piggy-backed off of it hoping for some of those dollars. All had Django in the title, but otherwise most of them bore no relationship to it. Copyright laws must be different in Europe. A number of the bigger spaghetti western characters were ripped off: Trinity and Sartana were others used in film titles/outright use of the characters.
Franco Nero reprise his most famous role some twenty-one years later and the cast had a number of notable actors in roles. Christopher Connelly is Count Orlowsky, “El Diablo,” a Hungarian Count still in the country after Maximillion’s overthrow, Donald Pleasence in a small role as a British prisoner working in Orlowsky’s silver mines, and William Berger, a veteran of a number of spaghetti westerns himself, as an old timer who appeared in a mock gunfight at the beginning with another old timer, both lamenting the death years before of Django just when he was needed. They were watching as Orlowsky’s big steamship passed their position along the river.
It had everything a good spaghetti western should have, extreme violence, cast and crew loaded with Italians. But somehow, it didn’t have the feel of a film of that genre. Shot some ten years after they’d fizzled out, this had more of a Hollywood production look. That could be attributed to better equipment than the heyday, the mid-sixties, I suppose. It really had more of the look of a war film.
Django had given up the guns years ago and become a monk. A woman arrives at the monastery one day to tell him that he has a daughter and that she’d been taken by Count Orlowsky, “El Diablo,” on one of his village raids to gather slaves for his silver mines and women to be sold into slavery. He visits the village, finds destruction and death, and sets out to find and free his daughter.
Once he’s captured by the Count;s men and thrown into the mines as a worker. It doesn’t take him long to run afoul of the Count’s straw boss, a black woman scantily dressed who makes liberal use of a cat-o-nine tails. Hardly more than a slave herself, she shows jealousy a few times in the film when the Count finds a pretty face among the women prisoners.
So Django works an escape and the gunfighter of old is reborn. He goes to a graveyard where he begins to dig at a stone marked simply, Django, and I knew then where his special coffin had been hidden when he gave up the guns. A horse drawn hears comes along with a woman and a child while he’s digging when a band of Mexican outlaws came along. Django of course takes care of them and has his base of operations, mounting his gun in the hearse.
From that point it begins to pile up the body count, as all good spaghetti westerns do.
I enjoyed this one and it is truly an overlooked move as I didn’t know of it’s existence until just recently. Check out the trailer below:
It’s also available for viewing on Youtube HERE.
The film was directed by Nello Rosatti(as Ted Archer) and written by Rosatti and Franco Reggiani, based of course on the Sergio Corbucci character.
For more overlooked movie goodness, check out Todd Mason\'s SWEET FREEDOM.