[These daily posts will cover little known actors or people that have appeared in more recent films and TV series. Various degrees of information that I was able to find will be given and anything that you can add would be appreciated.]
CASTRO, Luisa [Spanish] – film actress, married to Fransquito
Gómez.
Sabata – 1969 (villager)
Qhubo
By Kira Foxx
December 23, 2024
Prepare for an exciting festive season as France 2 unveils a fresh adaptation of the iconic Zorro legend starting December 23rd. This upcoming eight-episode series is brought to life by directors Émilie Noblet and Jean-Baptiste Saurel, featuring the beloved talents of Jean Dujardin and Audrey Dana.
In her captivating role as Gabriella de la Vega, Audrey Dana recently expressed heartfelt admiration for her co-star. During an interview with Télé 7 Jours, she praised Dujardin, noting that he is “the best work partner” she has encountered. Audrey highlighted his dedication and genuine nature, describing his commitment as extraordinary for someone of his stature. She emphasized that his passion and spirit remind her of a child’s joy for play, embodying an authentic connection to his craft.
Audrey continued to share her enthusiasm about Dujardin’s character. She pointed out that he shows remarkable empathy on set, often engaging with extras to ensure their comfort, a trait she found refreshing. This isn’t the first time Audrey has lauded Jean—she previously referred to him as both an exceptional actor and an extraordinary human.
With such high praise from her co-star, audiences can anticipate a thrilling and heartfelt portrayal in this retelling of the legendary masked hero. Prepare for Zorro like never before!
Unmasking a New Zorro: What to Expect from France 2’s
Adaptation
As the festive season approaches, anticipation builds for the premiere of France 2’s fresh take on the Zorro legend, set to debut on December 23rd. This new eight-episode series promises to breathe life into the classic tale, combining rich storytelling with contemporary interpretations.
Directors and Cast
The series is directed by Émilie Noblet and Jean-Baptiste Saurel, known for their inventive narratives and compelling visuals. Leading the cast are acclaimed actors Jean Dujardin, who is well-known for his Oscar-winning role in “The Artist”, and Audrey Dana, celebrated for her dynamic performances in French cinema. Dujardin and Dana’s chemistry is anticipated to bring depth to their characters, particularly with Dana stepping into the role of Gabriella de la Vega.
Behind the Scenes Insights
Audrey Dana has openly praised Dujardin not only for his acting prowess but also for his exceptional dedication to the cast and crew. During her interview with Télé 7 Jours, she described him as “the best work partner” she has encountered, highlighting his extraordinary commitment and empathy—a reminder of the joy of collaborative artistry. Such insights suggest a supportive atmosphere on set, likely translating into an authentic and engaging viewing experience.
Unique Features of the Series
This adaptation of Zorro is expected to honor the original spirit of the story while incorporating modern elements that resonate with today’s audience. The show aims to balance thrilling action sequences with emotional depth, focusing on character development and narrative complexity. With Dujardin’s well-known charisma and Dana’s passionate portrayal, viewers can expect a blend of both humor and gravity that reflects the nuanced nature of the characters.
Anticipations and Predictions
Fans of the Zorro series, as well as newcomers, should prepare for unexpected twists and deeper explorations of the characters’ motivations and backgrounds. This adaptation will likely explore themes of justice, identity, and resilience, echoing contemporary societal discussions.
Pros and Cons of the Adaptation
# Pros:
– Talented Cast: The combination of Dujardin and Dana is
sure to create engaging performances.
– Fresh Perspective: New directors bring innovative
storytelling that may revitalizing the classic narrative.
– Character Depth: Focus on emotional and psychological aspects of characters can enrich the plot.
# Cons:
– High Expectations: Fans of previous adaptations may
have specific expectations that could be difficult to meet.
– Risk of Changes: Modern adaptations sometimes stray too far from the original story, risking alienation of traditionalists.
Conclusion
France 2’s adaptation of Zorro is shaping up to be a
compelling reimagining of the legendary character. With a stellar cast,
innovative direction, and fresh storytelling, audiences are encouraged to tune
in starting December 23rd for a thrilling adventure that promises to blend
engaging action with heartfelt moments.
MSN.com
By Dante Santella
Throughout its heyday as one of the most sought-after types of movie western, the subgenre known as the Spaghetti Western influenced and reshaped the landscape of what a Western film can be. Before gaining prominence during the 1960s, Old Hollywood-style westerns were generally defined by pre-established rules that general audiences had come to expect with every new western being released; until many directors from Europe had taken on the western genre and gave it a new fresh coat of paint.
Known for audacious stories, stylized filmmaking and an Italian sensibility, spaghetti western films garnered all sorts of acclaim and criticism during the height of the genre’s popularity. Despite having been recognized in recent years as an important cinematic genre, not all spaghetti westerns are made with pitch-perfect craftsmanship; as with any movie genre, some definitive factors are unconventional within multiple spaghetti westerns and tend to appear often.
The Law of The Land Is Nonexistent
The Spaghetti Western Is the True Wild West
[Lee Van Cleef as Angel Eyes dueling against the Man with No Name and Tuco in The Good, the Bad and the Ugly.]
As with many westerns, the typical narrative of a lone
hero trying to save the day against the forces of evil is still expanded on
within spaghetti westerns; however, a critical difference between traditional
westerns and a spaghetti western lies in the law’s presence throughout the
story. Without much indication of a system of government, nor any sheriffs or
bustling community, most spaghetti westerns feel like out of a fantasy rather
than true to life.
[A split image of Django, Day of Anger, and Once Upon A Time in the West spaghetti western movies.]
Spaghetti Westerns don't always get their due, but there are rich, nuanced action stories being told in this unsung cinematic genre!
With the sheer amount of crimes committed throughout an average spaghetti western, most would assume that any kind of justice will step in to stop the madness. But in truth, the lawlessness and apt description of the Wild West best encapsulates a spaghetti western and, oftentimes, the chaotic environment leaves little to the imagination of how brutal these films can be; especially with how most films disregard realism.
The Big Stars Often Stick Out Too Much
A Leading Man Can Overshadow an Ensemble
[Franco Nero as
Django in Django]
Helping define the careers of many successful actors, the western genre has produced some big-name stars who charmed audiences and played iconic cowboys. In the wake of Clint Eastwood’s rise to stardom by working with Sergio Leone, many spaghetti westerns aimed to recapture the magic by finding the next great leading man, though ironically, the search for an Eastwood-esque figure would ultimately put a damper on the spaghetti western ideology.
Framing individuals with a grimy and unflattering look, the characters in spaghetti westerns are meant to evoke a naturalistic portrayal of the Old West. With many spaghetti western protagonists, the leading men were often American B-list actors or unknown European actors that resembled a specific caricature but didn’t necessarily fit with the rest of the cast. Most of the memorable aspects in spaghetti westerns are the engaging side characters, while the protagonist serves as a tool rather than a believable individual.
The “Heroes” Are Not Usually That Good
The Audience Doesn’t Always Have Someone to Root For
[Clint Eastwood
gives a scowling look in The Good, the Bad, and the Ugly.]
Although many great spaghetti westerns engage viewers through compelling narratives and impressive moviemaking with a morally complex hero, the lower-tier spaghetti westerns utilize mindless action as a crutch to compensate for poor characterization. If the protagonist is the lesser of evils amongst all the characters in the film, then the viewer becomes disinterested in the ongoing plot and the film just becomes a showcase for meaningless violence.
A Close-Up Shot Can Sometimes be Overbearing
The Viewer Already Knows What's Going On
[Opening shot from
The Good, the Bad and the Ugly.]
Although the Western genre isn't for everyone, these films are beloved by the vast majority of audiences.
As the close-up/quick zoom was meant to evoke a character’s emotion or emphasize an important plot point, the reliance on this technique made some spaghetti westerns overindulgent with storytelling. One downside to this genre is the recurring use of plagiarism, where the best working directors like Sergio Leone had to deal with his work becoming stolen and poorly executed; thereby making other spaghetti westerns appear all alike to casual audiences.
The Gunslinger Is Unbelievably Skilled in Battle
Without Any Real Stakes There’s No Tension
[The protagonist
Ringo in A Pistol for Ringo.]
Whether facing a swarm of outlaws, bandits or soldiers, the spaghetti western hero typically handles the conflict with ease and is left unscathed. While by no means do audiences demand that the protagonist be killed off, it is much more interesting to watch a hero struggle to win the day rather than reach the end of the film unfazed by all the gunfights, carnage and relationships established throughout.
Unjust Violence Is Paramount to a Spaghetti Western
Nothing Is off the Table Within the Genre
[Django holds a pistol and has a gatling gun ready in Django.]
As a prominent aspect in all kinds of westerns, violence
on screen distills a fundamental storytelling function of having tension and
release, where the brutality framed in a spaghetti western film is highlighted
somewhat excessively. Although the goal of a spaghetti western is to be shocking
and more raw than prior American westerns, some lesser-quality films come
across as over-the-top in the execution of violence. Moreover, the unrestrained
use of violence dampens any real meaning to the plot at hand.
[Angel Eyes looks
over to the side in The Good, the Bad and the Ugly.]
In trying to upend any sense of convention within the western genre, spaghetti western films set out to depict as much gore as possible to throw off an audience; and while some of the best spaghetti westerns were able to maintain a proper balance of spectacle and artistic merit, a vast majority depended too much on shock value that killed all sense of purpose for the viewer to connect with the story.
Humor Is Hard to Adapt For Everyone
Comedy Must Be Universal in Order to Reach the Largest
Audience
[Terrence Hill and
Bud Spencer in They Call me Trinity.]
At the same time, the exaggerated tone and attempts at parody merely muddle the plot and leave the viewer baffled. Although a spaghetti western comedy doesn’t have to engage with real life, the farcical nature of these films isn’t nearly as entertaining to excuse lackluster writing, bad acting, shoddy directing or faulty 1960s/1970s Italian humor that does not hold up by today’s standards.
The Cheaper Quality Kills Any Kind of Escapism
A Familiar Look Doesn’t Expand the Narrative
[Clint Eastwood in
A Fistful of Dollars.]
[Split Images of
Hidalgo, Forsaken, and Tell Tale.]
Westerns are a huge genre of the silver screen. Which ones fell under the radar that are off the beaten path of the classic spaghetti western format?
Despite aiming for success by copying what worked before, many spaghetti westerns retread the same visual style which tarnished the uniqueness of the more acclaimed spaghetti western films. Moreover, as the years went by, the standard of many spaghetti westerns had reached a low point where any competently shot film made it to theaters; where multiple directors should’ve instead tried to present something different and challenge audiences.
Weak Audio & Translation May Ruin the Flow
Bad Technical Design Lessens a Film’s Execution
[Terence Hill in
My Name is Nobody.]
Like many other significant westerns, the actor is vital for conveying the truth of the story to the audience and, while the art of film is a visual medium, and the audience can understand the characters with just the actor’s face, bad dubbing takes away the intonation of each performer’s voice and overall presence within the story. Moreover, bad dubbing can also ruin a narrative through misguided translation, as a specific native language can be misinterpreted by an audience in another country.
A Meandering Plot Can Wreck a Viewing Experience
An Essential Aspect for a Good Movie Is a Tight Script
[The Protagonist
in The Great Silence.]
The point of a great spaghetti western film is to
gradually build upon a story’s themes and reach a satisfying conclusion while
having a good time along the way with interesting characters, engaging action
and impressive filmmaking. But with most spaghetti westerns, the narrative
often suffers from misguided scenes that don’t offer anything unique to say and
end up ruining the pacing for the viewer.
Sverre Wilberg (actor) would have been 95 today but died in 1996.
Eva Deckner (actress) is 90 today.
Mircea Diaconu (actor) would have been 85 today but
died in 2024.
[These daily posts will cover little known actors or people that have appeared in more recent films and TV series. Various degrees of information that I was able to find will be given and anything that you can add would be appreciated.]
Fernando Castro is/was a Spanish child actor who has one credit at the IMDb, and it was also his only Spaghetti western appearance in “Cipolla Colt” (Spaghetti Western) 1974 as Dutch Foster.
I asked Enzo Castellari if he knew whatever happened to Fernando and he said no he didn’t.
CASTRO, Fernando [196?, Spain - ] – film, voice actor.
Spaghetti Western – 1974 (Dutch Foster)
We see in this photo from the opening scenes of “Massacre at Fort Holman” Colonel Pembroke (James Coburn) is given several convicts that are about to be hanged to accompany him on a mission to retake Fort Holman which Pembroke had surrendered to Confederate Major Ward (Telly Savalas).
The location of this fort where the execution was to take
place was located in Llano Ochotorena/Gádor (Almería). This is what it looked
like in 2022. Nothing but rubble is left to mark the location.
Buffalo Bill
This series is reprints of the first 12 issues already published in the Avventure Americane series (Edizioni La Freccia, 1960). Drawings were mainly those of Massimo Liorni (Max Liorn) and others of the English production such as the Wtatt Earp and Arizona Kid series. Covers were by by Enzo Carretti (E. Car). Dingle-Hoofer in the appendix.
This series was published by Edizione Americane in Rome,
Italy in 1962 under the direction of editor Mario Nerbini. Issue #1 was
released on February 1, 1962 and it ended with issue #3 on May 1st
of that year.
Titles
01 (00.02.62) - "L'assalto" (The Assault)
02 (00.00.62) - "Il sentiero della vendetta" (The
Path of Vengeance)
03 (00.05.62) - "Duello mortale" (Deadly Duel)
