A spagwest classic and a combination of a LOT of talent both in front of and behind the camera, KEOMA stands true as one of the best spaghettis made in the 1970s and another feather in the hat of stylish director Enzo G. Castellari. Aside from the spectacular action which one comes to expect from a pro like Castellari, KEOMA offers an intelligent script, strongly-drawn characters and an intriguing story. Physically, the film is shot magnificently, mixing in sweeping vistas of lush plains with horses crossing them to painting a picture of a decayed and ruined town, full of fear, dirt and disease. Seeing this film in its original widescreen format is necessary to realise just how beautifully shot it is throughout. The dialogue is often snappy, with memorable one-liners and interesting character traits. Castellari takes us through the low points of pathos and tragedy to the high points of blazing justice and companionship and somehow keeps his film gripping throughout, even when nothing much is happening. This is all the more surprising when one knows of the pre-production chaos which resulted in a story being made up as it went along, with plentiful contributions from cast and crew members.
Castellari regular Franco Nero is the bewigged Keoma, a supposed Indian half-breed. Nero puts in a typically strong performance, and is allowed to use his own voice to add to his portrayal of his layered character. Supporting cast members include old-timer William Berger, playing Nero's heroic dad, and Woody Strode in one of his finest parts as an alcoholic banjo-player subject to racism and hatred until Nero's presence returns him to his former fighting state. Olga Karlatos is the pregnant woman whom Nero rescues from certain death, whilst Donald O'Brien enjoys himself as the conniving chief villain. Genre vets like Giovanni Cianfriglia fill out the rest of the cast, and mention must go to the actors playing the three ambiguous half-brothers who are excellent.
The film's only real flaw is with the wailing folk music, employing both shrill female vocals and Nero himself singing out-of-tune on the soundtrack! Sadly the music is far from the quality work of an Ennio Morricone score and extraordinarily irritating and/or grating in parts - the only detraction. Thankfully Castellari contributes some of his finest action ever directed, with plenty of slow motion deaths to behold, all amazingly crafted, and an extended fight sequence near the end of the film in which Nero, Berger, and Strode take on O'Brien's entire gang and very nearly beat the lot of them. This action features about a hundred bad guys getting wasted, including extra-cool points for Strode shooting men dead with his bow and arrow! Keep an eye out for the super-stylish auteur shots that Castellari includes, like the point-of-view shooting target and the four-finger victim count. With better music, this would have been a masterpiece; as it stands its only very good indeed.
Castellari regular Franco Nero is the bewigged Keoma, a supposed Indian half-breed. Nero puts in a typically strong performance, and is allowed to use his own voice to add to his portrayal of his layered character. Supporting cast members include old-timer William Berger, playing Nero's heroic dad, and Woody Strode in one of his finest parts as an alcoholic banjo-player subject to racism and hatred until Nero's presence returns him to his former fighting state. Olga Karlatos is the pregnant woman whom Nero rescues from certain death, whilst Donald O'Brien enjoys himself as the conniving chief villain. Genre vets like Giovanni Cianfriglia fill out the rest of the cast, and mention must go to the actors playing the three ambiguous half-brothers who are excellent.
The film's only real flaw is with the wailing folk music, employing both shrill female vocals and Nero himself singing out-of-tune on the soundtrack! Sadly the music is far from the quality work of an Ennio Morricone score and extraordinarily irritating and/or grating in parts - the only detraction. Thankfully Castellari contributes some of his finest action ever directed, with plenty of slow motion deaths to behold, all amazingly crafted, and an extended fight sequence near the end of the film in which Nero, Berger, and Strode take on O'Brien's entire gang and very nearly beat the lot of them. This action features about a hundred bad guys getting wasted, including extra-cool points for Strode shooting men dead with his bow and arrow! Keep an eye out for the super-stylish auteur shots that Castellari includes, like the point-of-view shooting target and the four-finger victim count. With better music, this would have been a masterpiece; as it stands its only very good indeed.