A Mark Damon Double Feature. Wild East, USA. Format: NTSC Region
0.
Kill and Pray Widescreen (1.85:1). Directed by Carlo
Lizzani. 102 minutes. 1967.
A Southern aristocrat, George Ferguson
(Mark Damon), oversees the massacre of a band of Mexicans whose land he has
stolen. The small son of the Mexicans' leader somehow survives and is found
wandering in the wilderness by an itinerant preacher and his single-parent
sister. The preacher takes the child on as his own and the boy makes an ideal
companion for the preacher's small niece, Princy. The years pass by happily
until the day that Princy (Barbara Frey) runs away with a company of travelling
stage-players. The adopted Mexican (Lou Castel) vows to find her and bring her
home. His travels lead him straight to San Antonio where a run-in with
Ferguson's men, who are forcing Princy to work as a prostitute, sets in motion
a chain of events that result in the Mexican remembering shocking details from
his past.
Actor Lou Castel only made a few
Spaghetti Westerns but the unusual characters that he chose to play ensured
that he made a lasting impression on genre fans. Here he plays a very reluctant
and unassuming young gunman from a religious background who earns himself the
moniker Requiescant due to his habit of saying prayers over the bodies of the
villains that he kills. Requiescant's main enemy here, George Ferguson, is one
of Mark Damon's most interesting genre characters while also being one of the
genre's most unusual villains. A thin and peculiarly anemic looking dandy,
Ferguson is a violent and psychotic racist and misogynist. His aristocratic
cape makes him look like a vampire while his Confederate great coat looks like
it was borrowed from a Third Reich storm trooper.
Whenever Requiescant is forced to kill
somebody, the mysterious Don Juan (Pier Paolo Pasolini) and three members of
his war council immediately show up and appropriate the dead men's weapons for
use in their long-planned revolution. And when Juan discovers Requiescant's
true identity, he uses the personal conflict that is present between
Requiescant and Ferguson as the trigger that makes the revolution become a
reality. Pasolini's numerous appearances here largely consist of him popping up
to deliver short bursts of political and moral wisdom and the earnest tones
that his English dubber employs to deliver these political speeches adds to the
trippy and sub-psychedelic vibe that runs through the whole film.
Interestingly, the film's political
content would seem to reach much further than Pasolini's periodic verbal
interjections. The set-pieces that feature racist and misogynistic behavior
would appear to have a purpose that goes beyond mere grindhouse-style shock
tactics: there's an impression that Lizzani and his writers were seeking to
provoke a moral or political response with their approach here. But the film's
biggest political statement is perhaps delivered when Juan's planned armed revolution
is largely made redundant by what is effectively a relatively peaceful,
Spaghetti Western-set, workers' general strike.
While it's not difficult to understand
why a character like Pasolini would choose to be involved in a show like this,
it has to be said that the film's political themes do not overshadow or
interfere with its ability to entertain as a genre feature. The largely
allegorical nature of the show's political content means that it still works
exceedingly well as a hugely entertaining, if slightly surreal, Spaghetti
Western. Naturally there are several action set-pieces present here and most of
them are original and well-staged in their execution. Kill and Pray is
essentially a fairly low-budget affair but undoubted care and technical expertise
went into its assembly and the show boasts some really good cinematography and
editing. Most of the acting here hits the mark too and genre stalwart Riz
Ortolani provides an interesting soundtrack score.
Picture quality here is near excellent.
The presentation boasts really vibrant colours and nothing in the way of print
damage. However, odd scenes do feature a touch of motion blur. The show's sound
quality is very good.
Extras: image gallery and the film's Italian
trailer.
Dead Men Don't Count Widescreen
(2.35:1). Directed by Rafael Romero Marchent. 86 minutes. 1968.
Two unscrupulous bounty killers, Fred
(Anthony Steffen) and Johnny (Mark Damon), arrive in Blackstone where the
corrupt sheriff, Bob (Piero Lulli), soon arrests them. Bob is working for a
local businessman, Rogers (Luis Induni), who has been stealthily arranging the
murders of local landowners so that he can take over the area and make a mint
when the railroad arrives. As such, Fred and Johnny have been set up to hang
for a crime that they didn't commit. However, years earlier one of Rogers'
first victims was the husband of his current wife (Maria Martini) and she gave
away her young son when she subsequently married Rogers. A distinctive pistol
that Johnny owns gives Rogers' wife the impression that he is her son and she
arranges for the duo to be released. Rather than leaving town, the duo stick
around and offer their assistance to the remaining landowners who are fearful
for their lives and land. With his best men being gradually wiped out by Fred
and Johnny, who are now close to discovering the truth about his criminal
activities, a desperate Rogers sends for the infamous Lassiter Brothers' gang
(Raf Baldassarre and company) and the scene is set for a violent climactic
confrontation.
This show has something of an all-star
cast in genre terms. Anthony Steffen and Mark Damon play their usual anti-hero
genre types to good effect as does Piero Lulli in his role as the corrupt
sheriff but the show is nearly stolen by Raf Baldassarre who enters the picture
for its final third or so. Clean-shaven, scrubbed up and smartly turned out in
generic cowboy clothing, Baldassarre's Lassiter looks quite boyish and
unassuming when compared to the raggedy dressed and unwashed varmints that the
actor usually plays. However, looks can be deceiving and Lassiter turns out to
be one of the most despicable and callous villains in Baldassarre's quite
considerable genre filmography. The rest of his gang are no slouches either.
Other familiar faces that genre fans will be pleased to find here include Barta
Barri and Carlos Romero Marchent who play a father and son whose land is
targeted by Rogers.
This is essentially a lower-middle tier
genre entry that punches well above its own weight thanks to a number of key
ingredients. As noted already, it's got a pretty good cast. The show also
boasts some solid and reasonably stylish direction and cinematography by the
ever dependable Rafael Romero Marchent and Franco Delli Colli. Add to this a
rousing soundtrack score (courtesy of genre stalwart Riz Ortolani) and an
engaging storyline that has a neat twist ending that serves to pass comment on
the genre's obsession with family ties and you've got a decent little genre
flick. I'd never come across this show prior to Wild East's DVD release and I
thoroughly enjoyed it. The only slightly negative aspect here for me is the odd
play for mild laughs that fall flat but these comedic blips are few and far
between and so don't adversely affect the show too much.
Picture quality here is very good for
the most part. There's not much in the way of print damage but odd scenes do
feature a touch of motion blur. A short early sequence and parts of the front
and end titles have seemingly been sourced from elements of a slightly lesser
quality in order to present the film uncut. The presentation's sound quality is
generally good.
Extras: Mark Damon Interview and an image
gallery that includes a comic strip adaptation of the film.
© 2012 Copyright Lee Broughton.
A more detailed review of Kill and Pray can be found here: http://www.dvdtalk.com/dvdsavant/s1732pray.html
cheers Tom very AWESOME REVIEW love this double feature as i own this version as well a must own and watch cheers and thanks for sharing with us this classic SW gem Tom have a swell day cya
ReplyDelete