Franco Nero is typically engaging as Jose, a moralistic Spanish soldier who makes the mistake of his life getting mixed up with sultry, completely self-interested gypsy Carmen (the luscious Tina Aumont). Try as he might, he CAN'T stop thinking about her, much less get her out of his life (even though we know that would be best). At one point, he catches her with his superior officer (Franco Ressel), and accidentally kills the man during their subsequent brawl. Now hunted by the law, he hides out in the wilderness where he realizes that he will have to live his life as an outlaw. More trouble brews when Garcia (Klaus Kinski), Carmens' heretofore unmentioned husband, becomes a part of their big gold robbery scheme, and HE'S a real rotten piece of work, in the best Kinski tradition.
Making the difference in this Spaghetti Western is the way that it transposes the classic film noir trope of the femme fatale into its story. And Aumont is memorably volatile AND enticing as this ultra-conniving woman who is seemingly only capable of using men and not loving them. Kinski also gives the proceedings a real shot in the arm during his time on screen, although it would have been better if the big fight scene between him and Nero were more coherent. (As it is, it takes place at night and you can't see it very well.)
Based on a story by Prosper Merimee, and co-scripted by director Luigi Bazzoni, this tells a consistently entertaining story with a strong second half. It's particularly interesting when at one point we have Jose, Garcia, and another character named Dancairo (Guido Lollobrigida) threatening to go crazy from their situation (no food, no water, and utter isolation) as they wait for Carmen to return to them. But, as previously said, her only real allegiance is to herself.
Beginning in a striking way (it's not hard to figure out that we're actually seeing the END of the film first), this is ultimately a tragic but compelling story.
Wonderfully photographed (lit by Camillo Bazzoni, with Vittorio Storaro as the camera operator) and scored (by Carlo Rustichelli).
Luigi Bazzoni worked with Nero again four years later on the Giallo "The Fifth Cord".
Eight out of 10.
Making the difference in this Spaghetti Western is the way that it transposes the classic film noir trope of the femme fatale into its story. And Aumont is memorably volatile AND enticing as this ultra-conniving woman who is seemingly only capable of using men and not loving them. Kinski also gives the proceedings a real shot in the arm during his time on screen, although it would have been better if the big fight scene between him and Nero were more coherent. (As it is, it takes place at night and you can't see it very well.)
Based on a story by Prosper Merimee, and co-scripted by director Luigi Bazzoni, this tells a consistently entertaining story with a strong second half. It's particularly interesting when at one point we have Jose, Garcia, and another character named Dancairo (Guido Lollobrigida) threatening to go crazy from their situation (no food, no water, and utter isolation) as they wait for Carmen to return to them. But, as previously said, her only real allegiance is to herself.
Beginning in a striking way (it's not hard to figure out that we're actually seeing the END of the film first), this is ultimately a tragic but compelling story.
Wonderfully photographed (lit by Camillo Bazzoni, with Vittorio Storaro as the camera operator) and scored (by Carlo Rustichelli).
Luigi Bazzoni worked with Nero again four years later on the Giallo "The Fifth Cord".
Eight out of 10.