Thebad.net
By Aaron
November 22, 2025
When fans talk about the golden age of Spaghetti
Westerns, Death Rides a Horse (1967) always gallops into the conversation.
Directed by Giulio Petroni and starring Lee Van Cleef and John Phillip Law, the
film stands out for its moody atmosphere, stylish cinematography, and one of
Ennio Morricone’s most haunting revenge-themed scores. But the story behind the
film’s production is just as intriguing as the movie itself.
A Director with a Bold Vision
Giulio Petroni wasn’t as widely known as Sergio Leone,
but he brought his own sharp eye and political sensibility to the genre. During
filming, Petroni pushed for a more psychological approach to the story—focusing
on memory, trauma, and the uneasy partnership between an older outlaw and a
young man bent on revenge.
Petroni and Van Cleef reportedly enjoyed a strong working
relationship, with Van Cleef appreciating Petroni’s willingness to let him
shape the character of Ryan into a world-weary mentor figure rather than a
typical gunslinger.
Lee Van Cleef at His Post-Leone Peak
Fresh off his international breakthrough in Leone’s
films, Lee Van Cleef was now a marquee star in Europe. On set, he was known for
his professionalism and calm demeanor. Italian crew members often mentioned
that Van Cleef preferred to stay focused between takes, conserving energy for
the film’s demanding riding and action sequences.
Despite knee issues that bothered him throughout the late
1960s, Van Cleef insisted on doing much of his own riding, adding authenticity
to the film’s rugged tone.
John Phillip Law’s First Ride into the West
This film was John Phillip Law’s first Spaghetti Western,
and he approached the role of Bill with a surprising level of seriousness. Cast
partly because of his intense eyes and stoic expression, Law trained with
horses and firearms before filming began.
Law later mentioned in interviews that he and Van Cleef
barely spoke off-camera—something fans have speculated helped enhance their
on-screen tension. However, both actors respected each other and worked
together seamlessly.
Filming in the Wild Landscapes of Almería
Like many iconic Italian Westerns, Death Rides a Horse
was shot in the desert landscapes of Almería, Spain. The region’s dry terrain,
isolated hills, and abandoned mining towns provided the perfect visual backdrop
for Bill’s journey of vengeance.
Production faced the typical problems of desert shoots: blistering heat during the day, freezing winds in the evenings, and dust storms that sometimes-halted production for
hours.
Still, the crew made creative use of the harsh
environment. Many of the wide shots—especially the scenes of Bill tracking his
memories in fragmented flashbacks—benefited from Almería’s vast, empty
horizons.
Morricone’s Score: A Soundtrack with a Life of Its Own
One of the film’s most enduring legacies is its Morricone
soundtrack. The composer created a unique blend of eerie chimes, rhythmic
guitars, and a lonely vocal motif that would later be sampled in Quentin
Tarantino’s Kill Bill.
During recording, Morricone experimented with unusual
percussion and echo effects to give the flashback scenes a dreamlike, almost
ghostly quality. Even Petroni admitted the score elevated the film far beyond
what was on the page.
The Flashback Technique
The movie’s use of stylized flashbacks—distorted visuals,
close-ups of key objects, and dramatic lighting—was innovative for the genre at
the time. These sequences were filmed with special filters and gels to enhance
the feverish sense of trauma and memory.
Petroni reportedly spent more time on these scenes than
any other part of the film. The goal: make the audience feel Bill’s childhood
memories as fragmented, painful snapshots rather than clear recollections.
A Cult Legacy
While Death Rides a Horse wasn’t the biggest box-office
hit of its day, it steadily grew into a cult favorite. Home-video releases in
the 1980s and 1990s introduced new fans to its stylish action, morally complex
characters, and unforgettable score.
Today, the film is considered one of Lee Van Cleef’s
finest post-Leone Westerns and a defining work of Giulio Petroni’s career.
