From the WAI! vault

 

Little Known Spaghetti Western Actors ~ Dan Dobre

[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.]

Dan Dobre was born on December 28, 1938 in Dumbraveni, Sighisoara, Romania. He was a Romanian actor known for his work in Romanian cinema, particularly in films from the 1960s to the 1980s. In 1962 he was admitted to the Acting Department at the I.L. Caragiale Institute of Theatre and Film Arts (IATC) in Bucharest, where he trained under professor George Carabin and conferențiar George Rafael. Following his graduation, Dobre secured a position at the Teatrul Dramatic Brașov, marking the start of his long-term engagement with that institution

He gained recognition for performances in notable productions such as “Vin ciclistii” (1968) and “The Carpathian Castle” (1981), contributing to the landscape of Romanian film during that period. His roles often appeared in local features, reflecting the era's cinematic output under Romania's socialist system.

Dan departed Romania in 1988 for Germany.After emigrating to Germany Dobre settled in the United States. He remained abroad until 2007, when he repatriated to Romania upon retirement. Despite his return to Romania, his death occurred in the United States where he died in New York City, New York on July 7, 2020 at the age of 81.

Dan Dobre appeared in two Euro-westerns: “Ulzana” as a lieutenant in 1973 and “Sing, Cowboy, Sing” as one of Dave Arnold’s henchman in 1980

DOBRE, Dan (Dan Virgil Dobre) [12/28/1938, Dumbraveni, Sighisoara, Romania – 7/7/2020, Rego Park, New York City, New York, U.S.A.] – theater, film actor, married to Ilse Schmit father of a son, married to philologist Doina Precup, married to actress Rucsandra Ionescu-Tintu, married to Laura Oltean [1965-    ].

Ulzana – 1973 (3^rd lieutenant)

Sing, Cowboy, Sing – 1980 (Dave Arnold henchman)

Spaghetti Western Directors, Screenwriters, Cinematographers

Spaghetti Western Director ~ Claudio Fragasso

Claudio Fragasso was born on October 2, 1951, was an Italian film director and screenwriter renowned for his contributions to low-budget exploitation cinema, particularly in the horror and action genres.

Fragasso began his career in the early 1970s by experimenting with experimental art films shot on Super 8, including early shorts like “Paure e Realtà” and his debut feature “Passaggi” (1977), which won an award at the Ischia Film Festival in 1979. By the mid-1970s, he transitioned to screenwriting for the Italian exploitation industry, often collaborating uncredited with director Bruno Mattei on fast-paced genre films from 1980 to 1990, and frequently co-writing with his wife, screenwriter Rossella Drudi.

His directorial debut in 35mm came in 1981, followed by a series of low-budget productions blending horror, sci-fi, and action elements, such as “Monster Dog” (1986) and “Troll 2” (1990). Fragasso gained international cult notoriety for directing “Troll 2” (1990) under the pseudonym Drake Floyd, a film widely regarded as a "so bad it's good" classic due to its amateurish production, bizarre plot involving vegetarian goblins, and enthusiastic yet inept execution, which has since inspired a documentary, “Best Worst Movie” (2009). Other notable works include “Beyond Darkness” (1990) and “After Death” (1990), continuing his focus on atmospheric, low-fi horror. Throughout his career spanning over 20 films as director, writer, and producer since 1979, Fragasso has remained a staple of Italian B-movies, emphasizing creative experimentation within severe budgetary constraints.

Claudio Fragasso co-directed one Spaghetti western, Claudio Fragasso co-directed one Spaghetti western, “L’Apache Bianco” (White Apache) with Bruno Mattei in 1985

FRAGASSO, Claudio (aka Clyde Anderson, Drake Floyd) [10/2/1951, Rome, Lazio, Italy -     ] – director, assistant director, married to Rossella Drudi [1964-2025] (1978-2025) father of set and costume designer Valentina Fragasso [1981-    ].

White Apache – 1985 (co)

Spaghetti Western Screenwriter ~ Tonino Cervi

Antonio "Tonino" Cervi was an Italian film producer, director, and screenwriter whose work significantly influenced post-war Italian cinema, particularly through his support for emerging talents like Bernardo Bertolucci and Michelangelo Antonioni.

Born on 14 June 1929 in Rome, Italy.He was the only child of the acclaimed Italian actor Gino Cervi and actress Nini Gordini in Rome as the son of renowned actor Gino Cervi, he entered the film industry in his early twenties, initially assisting on his father's projects before co-founding a production company in the late 1950s. As a producer, Cervi played a pivotal role in launching Bertolucci's directorial debut with “La Commare Secca” (1962), a screenplay by Pier Paolo Pasolini, and produced Antonioni's landmark first color film ‘Il Deserto Rosso” (1964), which won the Golden Lion at the Venice Film Festival. He also co-produced the anthology “Boccaccio '70” (1962), featuring segments by Federico Fellini, Vittorio De Sica, Mario Monicelli, and Luchino Visconti, alongside collaborations with directors such as Francesco Rosi and Alberto Lattuada on films like “The Moment of Truth” (1965) and “Mafioso” (1962).

Cervi made his directorial debut with the spaghetti western “Oggi a me... domani a te” (1968), co-written by Dario Argento and starring Bud Spencer in an early role that helped launch the actor's career. His most commercially successful directorial efforts were comedic adaptations of Molière's plays, including “The Imaginary Invalid” (1979) and “The Miser” (1990), both featuring Alberto Sordi and reflecting Cervi's interest in irreverent, character-driven storytelling. After a period of relative inactivity, he returned to directing with “Il quaderno della spesa” (2002), a historical drama completed shortly before his death from a heart attack in Siena on April 1, 2002, at age 72. Survived by four children, including actress Valentina Cervi, and his companion Emanuela Muri, Cervi's legacy endures through his mentorship of Italy's cinematic new wave and his diverse body of work spanning genres from neorealism to comedy.

Tonino Cervi co-wrote the screenplay for one Spaghetti western, “Oggi a me… domani a te!” (Today We Kill… Tomorrow We Die!) with Dario Argento in 1967.

CERVI, Tonino (Antonio Cervi) [6/15/1929, Milan, Lombardy, Italy – 4/1/2002, Siena, Tuscany, Italy] – producer, production manager, director, writer, actor.

Today We Kill… Tomorrow We Die! 1967 (co)

Spaghetti Western Cinematographer ~ Arthur Ibbetson

Arthur Ibbetson (was a British cinematographer renowned for his versatile work across genres, including war films, musicals, and family adventures, with notable credits such as “Where Eagles Dare” (1968), “Willy Wonka & the Chocolate Factory” (1971), and “The Bounty” (1984).

Born in Bishop Auckland, County Durham o September 8, 1922, Ibbetson began his film career in the 1930s at age 13 as a child actor and clapper boy at Elstree Studios in Borehamwood, progressing through roles as a camera assistant and operator under mentors like Skeets Kelly, where he learned essential techniques in camera angles, movements, and lighting. His early operator credits included high-profile productions such as “The Blue Lagoon” (1949), “Moby Dick” (1956), and “A Farewell to Arms” (1957), all photographed by Ossie Morris BSC.

Ibbetson's breakthrough as director of photography came with “The Horse's Mouth” (1958), followed by acclaimed films like “Tunes of Glory” (1960) for its stark realism and “Anne of the Thousand Days” (1969), which earned him an Academy Award nomination for Best Cinematography. He received further recognition, including BAFTA nominations for “Nine Hours to Rama” (1963) and “The Chalk Garden” (1964), an Emmy Award for “Little Lord Fauntleroy” (1981), and a British Society of Cinematographers nomination for “The Bounty” (1984). A member of the British Society of Cinematographers, Ibbetson contributed to over 50 films and television projects until his final credit on “Babes in Toyland” (1986), leaving a legacy of technical precision and visual storytelling in British and international cinema.

Ibbetson died in Hillingdon, Middlesex, England on October 19, 1997 at the age of 75.

Arthur Ibbetson was the cinematographer on one Euro-western, “I Canadesi” (The Canadians) in 1961.

IBBETSON, Arthur (aka A. Ibbetson, Arthur F. Ibbetson) (Arthur Francis Ibbetson) [9/8/1922, Bishop Auckland, Durham, England, U.K. – 10/19/1997, Hillingdon, Middlesex, England, U.K. (cancer)] – cinematographer, cameraman, actor, son of prop man Norman Ibbetson, brother of  propman Tommy Ibbetson, hairdresser Bernadette Ibbetson, film cutter Angela Ibbetson married to Nora McMullen (1942-1997) father of assistant director Paul Ibbetson [1946-    ], Julie Ibbetson, film editor Angela Ibbetson [1947-    ], Clare Julie Ibbetson.

The Canadians – 1961

Come on, get out the lasso [archived magazine article]

Did the Rio Grande flow through Munich? A hundred years ago, the Isar Westerns were booming in Bavaria. The quickly shot films served a curious Wild West mania, near the Alps some still consider themselves "Indians" today.

Spiegel

By Katja Iken

6/13/2019

A day in the autumn of 1919: Unsuspectingly, Munich walkers are strolling south along the banks of the Isar when a troop of 30 fearsome figures comes towards them. The men have soot-blackened faces, move in the direction of Geiselgasteig and carry weapons. The excursionists alert the police, and guards hurriedly ride up.

When the actors Joe Stöckel and Fritz Kampers turn the corner, it turns out that there is no evil gang of robbers at work here - filming is underway here. "Die Indianer-Lilly " is the name of the film by director Peter Ostermayr. It is one of around 20 so-called Isar Westerns that caused a sensation after the First World War.

The films were produced as quickly as cheaply by Munich film pioneers from the very beginning - and were immensely popular. Shortly after the First World War, there was an import ban on US films. Isar westerns such as "Der schwarze Jack" (1918) or "Die Geier der Goldgruben" (1919/20) simply had no competition, but an enthusiastic fan base, especially in Bavaria.

"There has always been a strong penchant for the exotic and weird in this country, a special joy in disguise," says Hermann Wilhelm, 70, author of the recently published illustrated book "Wild West Munich". The artist and local historian searched for the beginnings of the Bavarian Wild West mania and is convinced: the traditional costume alone connects the two cultures. "Here the Bavarians in lederhosen and chamois beards or feathers on their hats, there the 'Indians' in leather costumes and feather headdresses."

According to Wilhelm, the trigger for this Bavarian spleen is the famous bison slayer William Frederick Cody - as "Buffalo Bill" the world's most photographed person of the late 19th century. With his "Wild West Show", the American entertainer made a guest appearance at Munich's Theresienwiese from April 19 to May 5, 1890.

"Indian" Schuhplattler fans

Around 200,000 people, including Prince Ludwig (later King Ludwig III) and his family, flocked to admire the braggart celebrated in Bavaria as "Ochsen-Willy". Those who couldn't get a ticket tried to get one of the rare window seats in the surrounding houses.

Buffalo hunts and horse races, "Indian" dances and songs were presented, as well as the "attack of an emigrant train by Indians and the defense of it by the border residents". Buffalo Bill's entourage re-enacted General Custer's last stand at the Little Big Horn. And the legendary markswoman Annie Oakley shot the cigarette out of the mouth of a "target person thirty steps away".

The highlight, however, was gunslinger Buffalo Bill himself. "He always acts as a saving angel and shoots Indian chiefs," enthused the "Münchener Fremden-Blatt". The fact that Buffalo Bill - similar to Völkerschau organizer Carl Hagenbeck and Sarrasani circus pioneer Hans Stosch - exhibited people like zoo animals and that his version of the Wild West had long been a thing of the past, did not bother the astonished audience at the time.

Nor did anyone take offense at the fact that the show star had driven the extinction of the American bison in the USA and thus robbed the natives of one of their most important livelihoods. Munich indulged in Wild West fever - and conversely, the US visitors also warmed up to the Bavarian cultural heritage.

According to contemporary reports, Buffalo Bill's "Indian" employees strolled through the city's taverns, and at Gärtnerplatz they watched a dialect play in full gear. And they applauded at the Schuhplattler until the Bavarians repeated their folk dance.

Cowboys on bicycle saddles

"To play 'Indians and Trappers' is the wish of everyone," wrote the "Generalanzeiger" about the enthusiasm of the people of Munich. Numerous associations were founded and recreated the supposedly great life in the land of unlimited opportunities. Local historian Wilhelm speaks of a "real boom".

It all started in 1894 with the bicycle pioneer Heinrich Zierle. After an alleged son of Buffalo Bill challenged (and lost) the Munich professional cyclist Josef Fischer to the "Cycling Horse" competition, Zierle founded the Velocipede Club Wild West in an inn. Instead of on horseback, the members worked on bicycles with whips, lasso and revolvers; they performed their tricks on a small wooden roundel.

Shortly afterwards, the American Club Buffalo Bill, the Club American Boys, the Cowboy Club München Nord were founded in Munich. And in 1913 the Cowboy Club Munich: the oldest still existing club of its kind in Germany, built up by three men who actually wanted to emigrate to America. Like so many Bavarians at the turn of the century. "Hundreds of thousands of them sought their fortune overseas," says local historian Wilhelm, who heads the Haidhausen Museum in Munich.

The brothers Fred and Hermann Sommer as well as Martin Fromberger initially founded the Cowboy Club as a Wild West lottery club: they wanted to travel to the USA with winnings from lotteries. But the men were lucky only once - they won 40 marks in the bird protection lottery.

Western without shot and scream

So the prevented emigrants stayed in Munich and indulged their longing for wilderness and vastness at the foot of the Alps. A desire that Karl May's "Winnetou" novels served just as perfectly as the Isar Westerns produced from 1918 onwards, which today only survive in fragments: they were shot in daylight and contained a lot of action and battles, but as silent films they had to make do without shots and screams.

Many Munich cinema pioneers, including the early film companies Arri and Emelka, sought their entrepreneurial fortune in the Western. According to film scholar Thomas Brandlmeier, the advantages were obvious: You didn't need expensive equipment or decoration, a studio or particularly talented actors - and the location was the postcard idyll in the south of Munich free of charge.

[Lots of action, little cost: "Das Milliardentestament", shot in Bavaria in 1919 Photo: Cowboy Club München/ morisel Verlag] 

The picturesque Electoral Palatinate also served as an early Ballermann setting: Parallel to the Isar Westerns, the so-called Neckar Westerns were created in the areas between Heidelberg and Ludwigshafen.

Actor and producer Josef Stöckel, who called himself Joe, staged a whole series of Isar Westerns, which, according to him, were "sold all over the world due to the really exciting presentation". In fact, the disguised Heimatfilms rarely made it to Berlin at all. Critics often mocked the fact that cowboys owned dachshunds or that Bavarian interiors were provisionally concealed with "Stars and Stripes".

"With Munich suburban wagons from California to New York"

For example, a reviewer of "Revenge in the Gold Valley" (1920) found that "not a single scene is American". And in the case of the Isar western "The Fight for the Gold Find" (1920), a journalist criticized "the fact that you travel from California to New York in Munich suburban cars."

The moviegoers liked it anyway. They were particularly enthusiastic about grandiose landscape shots and risky action scenes. From 1921, however, the Western slapstick on the Isar and Neckar rivers came to an end: the US competition was back on the market with real Westerns, and at the same time the galloping inflation of the first German Western wave was severely affected.

Who Are Those Singers & Musicians ~ Jamila Vesela

 

Born Jarmila Slabá, she was the daughter of the composer and conductor Jan Slabý, who attended grammar school in Brno, and graduated from the conservatory in Brno as a flautist.

 She then worked in the former Yugoslavia for a long time and returned to Czechoslovakia only in 1946 where she became famous mainly as a singer in the Gustav Brom Orchestra in 1956-1963. Later she collaborated with other well-known musical ensembles such as the Studio Brno Orchestra, the Karel Vlach Orchestra and the Czechoslovak Radio Dance Orchestra (TOČR). She also recorded several solo albums, such as “Sluneční Ostrov” (1958).

As an actress, she drew the most attention to herself as Dana Ouredičková in the film “Prague Blues” (1963), she starred in the television production ‘Homemade Food is Home Food’ (1978) or the cashier in the film “Eliška Likes it Wild” (1999). She also sang the song of Olga Schoberová in the famous parody “Lemonade Joe” (1964).

Her husband was trombonist Stanislav Veselý, with whom she had a son, Petr.

VESELA, Jarmila (Jarmila Slabá) [1/2/1933, Susak, Rijeka, Kingdom of Yugoslavia – 4/12/2017, Brno, Czech Republic] – film, TV actress, singer, musician (flautist), actress, daughter of composer, conductor Jan Slabý [1904–1991], married to musician Stanislav Veselý [1928-1985] mother of Petr Veselý, member of the Kohoutovice Hall of Fame.

Lemonade Joe – 1964 [sings “Arizona]

Special Birthdays

Aníbal Vela (actress) would have been 13 today but died in 1962.

Thomas Wolff [voice actor] is 75 today.

From the WAI! vault