Tuesday, June 18, 2024

Little Known Spaghetti Western Actors ~ Otto Berger

[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.]

Otto Berger was a German silent film actor who only has one film credit that I can find and that was for the Euro-western “Die Todesfahrt, des weißen Häuptlings” (Bloody Fox, the White Chief) in1920 as Chief Bloody Fox.

Most likely Otto was born in the late 1800s and has since passed away. Since his name is a common name in Germany finding any information on him would be extremely difficult unless a mention of his participation in the western is mentioned.

BERGER, Otto [German] – film actor.

Bloody Fox, the White Chief – 1920 (Chief Bloody Fox)

La rebelión de los colgados


La rebelión de los colgados – Spanish title

Rebellion der Gehenkten – German title

Rebelion of the Hanged – English title

 

A 1986 German, Mexican co-production film [TMG (Tele München Fernseh Produktionsgesellschaft (Munich)), Cooperativa Río Mixcoac (Mexico City)]

Producers: Manfred D. Heid, Gabriel Retes (José Balzaretti), Jorge Santoyo

Director: Juan Luis Buñuel

Story: B. Traven (Ret Marut)

Screenplay:

Cinematography: Álex Phillips Jr. (Alex Bolaños) [color]

Music:

Running time: 100 minutes

 

Cast:

Don Ramón – Fernando Balzaretti

Don Severo - Jean-François Stévenin

Captain – Bruno Rey

Mexican soldier – David Yukon

Whores - Anaís de Melo, Graciela Lara

With: Pedro Altamirano (Pedro Marquez), Günther Maria Halmer, Uwe Ochsenknecht, Manuel Ojeda (Jesús Ruiz de la Peña), Patricia Reyes Spíndola, Miguel Ángel Rodríguez, José Carlos Ruiz, Jorge Russek (Jorge Martínez), Reiner Schöne, Javier Zaragoza

Story: At a Mexican logging camp: A manbrings his children and sister to work in the camp. He encounters a world of beatings and brutal punishment. His only recourse, finally, is to lead his co-workers into a bloody and violent rebellion.


Voices of the Spaghetti Western ~ “Ramon the Mexican”

As we know most of the Euro-westerns were co-productions from Italy, Spain, Germany and France which incorporated British and American actors to gain a worldwide audience. The films were shot silent and then dubbed into the various languages where they were sold for distribution. That means Italian, Spanish, German, French and English voice actors were hired to dub the films. Even actors from the countries where the film was to be shown were often dubbed by voice actors for various reasons such as the actors were already busy making another film, they wanted to be paid additional salaries for dubbing their voices, the actor’s voice didn’t fit the character they were playing, accidents to the actors and in some cases even death before the film could be dubbed.

I’ll list a Euro-western and the (I) Italian, (S) Spanish, (G) German and (F) French, (E) English voices that I can find and once in a while a bio on a specific voice actor as in Europe these actors are as well-known as the actors they voiced.









Today we’ll cover “Ramon the Mexican”

[(I) Italian, (S) Spanish, (G) German, (F) French, (E) English]

Ramon Morales - Robert Hunder (I) Glauco Onorato, (S) Antolín García

Esmeralda Baxter - Vilma Lindamar (I) Rita Savagnone, (S) Selica Torcal

Slim Baxter - Jean Louis (I) Cesare Barbetti, (S) Juan Lombardero

Lucas - José Torres (I) Nino Pavese, (S) Antonio Fernández Sánchez

John Baxter - Ferruccio Viotti (I) Arturo Dominici, (S) Víctor Valverde









Selica Torcal  (1932 -     )

Selica was born in Segovia, Spain on February 15, 1932. Torcal is the niece of the mezzo-soprano Selica Pérez Carpio [1900-1984]. She began her acting career in 1942 with Lope de Rueda Children’s Company. Since then, her professional career has focused mainly on dubbing, and she can be considered one of the most notable voice actresses on the Spanish artistic scene. She went through the actors' group of Radio Madrid, and participated in the Cadena SER, Teatro en el aire. Among the most remembered characters to whom she has given her voice, undoubtedly one of the most relevant was that of the girl Heidi in the famous Japanese cartoon series released in Spain in 1975. During this dubbing the actress was left hoarse, by combining it with the dubbing of other series in the same period. She had to be replaced from episode 21 by Marisa Marco. Because of this, it was rumored that she had become obsessed with the character, but the actress denied the rumor.

In cinema she participated in some films such as “Esa voz es una mina” (Luis Lucia, 1955), together with Antonio Molina, and participated in the dubbing of “Abuelo Made in Spain” (Pedro Lazaga, 1969); “Colorín, Colorado” (José Luis García Sánchez, 1976) and “El abuelo” (José Luis Garci, 1998), among others.


Special Birthdays

Klaus Tilsner (actor) is 90 today.









Beatrice Altariba (actress) is 85 today.









Raymond Isenberg (actor) is 75 today.



Monday, June 17, 2024

Little Known Spaghetti Western Actors ~ Gretel Buhrow

[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.]

 

Margarete ‘Gretel’ Buhrow was a German silent film actress. Most likely born in the late 1890s she’s passed on by now. She only has two film credits that I can find and both were Euro-westerns: “Die Todesfahrt, des weißen Häuptlings” (Bloody Fox, the White Chief) in 1920 as the farmer’s daughter and also in 1920 “Die Maske des Indianers” (The Masked Indians) as Lizzie.

BUHROW, Gretel (aka Marga Buhrow) (Margarete Buhrow) [German] – film actress.

Bloody Fox, the White Chief – 1920 (farmer’s daughter)

Die Maske des Indianers – 1920 (Lizzie)

New Spanish Blu-ray “Sergio Corbucci – 3 Pak”

 









Sergio Corbucci – 3 Pak

(Django, The Great Silence, The Mercenary)

(1966, 1968, 1969)

 

Director: Sergio Corbucci

Starring: Franco Nero, Klaus Kinski, Tony Musante, José Bódalo, Loredana Nusciak, Ángel Álvarez, Jean-Louis Trintignant, Frank Wolf, Jack Palance

 

Country: Spain

Label: Diivisa / Mercury

Blu-ray

Aspect ratio: 2.35:1, 1.66:1, 1.85:1

Languages: Mono Spanish, Italian

Subtitles: Spanish

Total running time: 4 hours, 57 minutes

ASIN: B0D31XSGD6

Available: June 17, 2024

Two new Spanish 4K Ultra HD and BluRays “Por un punado de dolares”, “La muerte tení­a un precio”

 










Por un punado de dolares

(A Fistful of Dollars)

(1964)

 

Director: Sergio Leone

Starring: Clint Eastwood, Gian Maria Volonte, Marianna Koch

 

Country: Spain

Label: Divisa / Mercury

Region B

4K UltraHD, BluRay

Aspect ratio: 2.35:1 4K SDR

Languages: DTS-HD Master Audio 5.1 Spanish, Italian, English

Subtitles: Spanish

Running time: 100 minutes

Extras: A new genre of hero; A few weeks in Spain. Interview with Client Eastwood; Comparing the locations between 1964 and 2004; Distribution Pending. The lost prologue of “For a Fistful of Dollars”; Christopher Frayling Historical Archive; The prologue made for Television.; Three friends remembering Sergio Leone; Trailers.

ASIN: B0D31T8VBD

Release date: June 17, 2024











La muerte tení­a un precio

(For a Few Dollars More)

(1965)

 

Director: Sergio Leone

Starring: Clint Eastwood, Lee Van Cleef, Gian Maria Volonte

 

Country: Spain

Label: Divisa / Mercury

Region B

4K UltraHD, BluRay

Aspect ratio: 2.35:1 4K SDR

Resolution: 1080p

Languages: Mono 2.0 DTS-HD MA Spanish, Italian, English

Running time: 132 minutes

Extras: A new style: Thirsting for more: Clint Eastwood remembers "For a Few Dollars More"; The scenes cut from the American version; The restoration of the film; Comparing locations. Almeria, Spain. 1965 – 2004; Producers and critics remembering the film.; Trailers.

ASIN: ‎B0D31WZY28

Release date: June 17, 2024


Spaghetti western locations Then and Now ~ “The Spikes Gang”

In 1974’s “The Spikes Gang” Harry (Lee Marvin) together with his gang of Wil Young (Gary Grimes), Tod Hayhew (Charles Martin Smith) and Les Richter (Ron Howard) scope out the bank which turns the adventurous youths into wanted outlaws.

The scene was filmed at Texas Hollywood, today Fort Bravo in Almeria, Spain.




European Western Comic Books – il Mensile di Barbapapà

 








Barbapapa's Monthly

This comic book was a monthly magazine edited by Vezio Melegari which presented in comics the successful cartoon series created by Annette Tison and Talus Taylor. In this version, the authors themselves produce the stories which in the issues are integrated with others created by Massimo Marconi and Massimo Dotta. Awarded in 1978 at the Bordighera International Humor Exhibition, organized by Cesare Perfetto, with one of the Palme d'Or Coppers, the monthly magazine was widely distributed with sales peaks of over 200,000 copies.

The magazine was published in 1976by AMO (Arnoldo Mondadori Editore) with issue #1 released in December of that year and it ended with issue #100 in March of 1985. It was published in Milan, Italy under the direction of Arrigo Polillo and Gaudenzio Capelli. Each issue contained 28-44 black and white pages with color covers.

Titles

01 (00.12.76) – “Con un favoloso poster” (With a Fabulous Poster)

02 (00.01.77) - "Mistero in dispensa" (Mystery in the Pantry)

03 (00.02.77) - "Peppistrello ha colpito ancora!" (Peppistrello Has Struck Again!)

04 (00.03.77) - "La gran festa dei giocattoli" (The Great Toy Festival)

05 (00.04.77) - "Barbazò medico dello zoo" (Barbazò Zoo Doctor)

06 (00.05.77) - "Il mistero delle uova rotte!" (The Mystery of the Broken Eggs!)

09 (00.08.77) - "Il mistero del salvadenaio" (The Mystery of the Piggy Bank)

10 (00.09.77) – “Numero 10” (Number 10)

11 (00.10.77) - "La mostra canina" (The Dog Show)

12 (00.11.77) - "Un grido nella valle" (A Cry in the Valley)

13 (00.12.77) – “Buon Natale (Merry christmas)

14 (00.01.78) - "Barbabravo e la magia" (Barbabravo the Magician)

15 (00.02.78) - "Tutti in scena!" (Everyone on Stage!)

17 (00.04.78) – “Contiene un poster! (Contains a Poster)

18 (00.05.78) – “Brava Barbamamma” (Brave Barbamamma)

19 (00.06.78) – “Numero 11” (Number 11)

20 (00.07.78) - "Dramma sulla spiaggia" (Drama on the Beach)

21 (00.08.78) - "L'iceberg" (The Iceberg)

22 (00.09.78) – “Numero 22” (Number 22)

23 (00.10.78) – “Numero 23” (Number 23)

24 (00.11.78) – “Numero 24” (Number 24)

25 (00.12.78) – “Buon natale a tutti I cari barbalettori!” (Merry Christmas to All Dear Barbers)

26 (00.01.79) – “Numero 26” (Number 26)

27 (00.02.79) – “Contiene un barbafavloloso” (Contains a Fabulous Beard)

28 (00.03/79) – “Numero 28” (Number 28)

29 (00.04.79) – “Contiene un poster barbapasquale!” (Contains a Barbasquale Poster)

30 (00.05.79) – “Evviva le mamme” (Long Live Mothers)

31 (00.06.79) – “Numero 31” (Number 31)

32 (00.07.79) – “Contiene un bellisimo Barbagioco” (Contains a Beautiful Barbagioco)

33 (00.08.79) – “Con un poster favoloso” (With a Fabulous Poster)

34 (00.09.79) – “Con un doppio super poste” (Double issue)

35 (00.10.79) - "Il quinto moschettiere" (The Fifth Musketeer)

36 (00.11.79) – “Grande concorso delle castagne” (The Great Chestnut Competition)

37 (00.12.79) – “Mille barbaugiri a Tutti quanti!” (A Thousand Cheers to Everyone)

38 (00.01.60) – “Felice 1980!” (Happy 1980!)

39 (00.02.80) - "Speciale Carnevale" (Carnival Special)

40 (00.03.80) – “Numero 40” (Number 40)

41 (00.04.80) – “Contiene un barba-poster!! – (Contains a Beared Poster)

42 (00.05.80) – “Con un favoloso poster” – (With a Fabulous Poster)

43 (00.06.80) – “BB” (BB)

44 (00.07.80) – “Con un favoloso poster” (Contains a Fabulous Poster)

45 (00.08.80) – ?

46 (00.09.80) - “Contiene un fantastic poster di barbazo!” (Contains a Fantastic Barbazo Poster)

47 (00.10.80) - ?

48 (00.11.80) - ?

49 (00.12.80) – “A tutti buon natale buon anno!” (Merry Christmas to Everyone, Happy New Year)

50 (00.01.81) – “La macchina del tempo” (The Time Machine)

51 (00.02.81) - ?

52 (00.03.81) – “Numero 52” (Number 52)

53 (00.04.81) – “Con un favoloso barba-poster” (With a Fabulous Barba Poster)

54 (00.05.81) – “Ritornano le barbafigurine” (The Bearded Figurines are Back)

55 (00.06.81) – “Con un poster doppio” (With a Double Poster)

56 (00.07.81) – “Grazie Barbo Polo!” (Thanks Barbo Polo)

57 (00.08.81) – “Tra i condor” (Between the Condors)

58 (00.09.81) – “La torre antica” (The Ancient Tower)

59 (00.10.81) – “Con un bel barba-poster” (With a Nice Beard Poster)

60 (00.11.81) – “Le contre marine” (The Counter Marine)

61 (00.12.81) – “Numero 61” (Number 61)

62 (00.01.82) – “In regalo: un barba-libro” (As a Gift a Beard Book)

63 (00.02.82) – “Tornano le Barbafigurine! (Tornano the Figurine Returns)

64 (00.03.82) – “Numero 64” (Number 64)

65 (00.04.82) – ?

66 (00.05.82) - ?

67 (00.06.82) - ?

68 (00.07.82) – “In regalo – un barbaposter” (As a Gift a Barba Poster)

69 (00.08.82) - "Il genio della lampada" (The Genie of the Lamp)

70 (00.09.82) – “Numero 70” (Number 70)

71 (00.10.82) - “Numero 71” (Number 71)

72 (00.11.82) - “Numero 72” (Number 72)

73 (00.12.82) – “Buon natale” (Merry Christsmas)

74 (00.01.83) – “Buon 1983) (Happy New Year 1983)

75 (00.02.83) – “Raccolta di primavera” (Speing Harvest)

76 (00.03.83) – “Numero 76” (Number 76)

77 (00.04.83) – “Un avantura "Pasquale", un trofei piu' belli” (A "Pasquale" adventure, more beautiful trophies)

78 (00.05.84) – “Numero 78” (Number 78)

79 (00.06.83) – “Numero 79” (Number 79)

80 (00.07.83) – “Numero 80” (Number 80)

81 (00.08.83) – “Numero 81” (Number 81)

82 (00.09.83) – “Numero 82” (Number 82)

83 (00.10.83) – “Numero 83 D'Artacan (1)” (D'Artacan #1)

84 (00.11.83) – “Numero 84 D'Artacan (2)” (D'Artacan #2)

85 (00.12.83) – “Numero 85 D'Artacan (3)” (D'Artacan #3)

86 (00.01.84) – “Numero 86 (D'Artacan (4)” (D'Artacan #4)

87 (00.02.84) – “Numero 87 (D'Artacan (5)” (D'Artacan #5)

88 (00.03.84) – “Numero 88 Raccolta di primavera (D'Artacan (6)” (Spring Harvest D'Artacan #6)

89 (00.04.84) – “Numero 89 (D'Artacan (7)” (D'Artacan #7)

90 (00.05.84) – “Numero 90 (D'Artacan (8)” (D'Artacan #8)

91 (00.06.84) – “Numero 91 (D'Artacan (9)” (D'Artacan #9)

92 (00.07.84) – “Numero 92 Gioca con noi” (Play with us)

93 (00.08.84) – “Numero 93 Gioca con noi” (Play with us)

94 (00.09.84) – “Numero 94 Gioca con noi” (Play with us)

95 (00.10.84) – “Numero 95 Gioca con noi” (Play with us)

96 (00.11.84) – “Numero 96 Gioca con noi” (Play with us)

97 (00.12.84) - “Numero 97 Gioca con noi” (Play with us)

98 (00.01.85) – “W il 1985! Buon anno!” (It's 1985! Happy New Year!_

99 (00.02.85) – “Numero 99” (Number 99)

100 (00.03.85) - Allegria !, Allegria !, arriva pasqua ! (Cheer!, Cheer!, Easter is coming!)

Special Birthdays

Alwin Neuss (director, actor) would have been 145 today but died in 1935.









James Shigeta (actor) would have been 95 today but died in 2014.









Sandu Simionică (actor) would have been 90 today but died in 1991.








Viorel Ivânica [stunts] would have been 75 today but died in 2009.

Lali Meszchi is 75 today



Sunday, June 16, 2024

RIP Kevin Brophy

 


RIP Kevin Brophy American actor Kevin Brophy died May 11th at his home in Rancho Santa Fe, California at the age of 70. He was diagnosed with stage 4 cancer 10 years ago. Born in Salt Lake City, Utah on November 1, 1953, he starred as a young man raised by wolves on the short-lived ABC series ‘Lucan’ and as the doomed leader of a college fraternity in the cult horror film “Hell Night”. When acting gigs became scarce, he worked as a valet parking cars at the Hotel Bel-Air for 26 years. Brophy appeared as Gregorio Segovia in the 1992 Euro-western TV series “The New Zorro” starring Duncan Regehr.

Fathers Day 2024

 


From the WAI! vault

 


Little Known Spaghetti Western Actors ~ Pedro Altamirano

 

Pedro Altamirano Marquez is/was a Mexican supporting and character actor. He appeared in around 45 films and television series beginning in 1983. His last credited appearance was in 2007’s “Chop Shop”. He’s appeared in five westerns in his career, three of which were Euro-westerns: “La rebelión de los colgados” (The Rebellion of the Hanged) in 1986, “Bandidas” in 1990 as Sapo and as the Mexican commander in 1999’s “Ravenous.

Pedro was also a voice actor and composer during his film career.

I can find no other biographical information on him.

ALTAMIRANO, Pedro (Pedro Altamirano Marquez) [Mexican] – composer, film, TV, voice actor.

La rebelión de los colgados – 1986

Bandidas – 1990 (Sapo)

Ravenous – 1999 (Mexican commander)

Kaskaderski spomenar

Kaskaderski spomenar – Croatian title

 

A 2004 Croation documentary production [Hrvatska Televizija (HTV)]

Producer: Hrvatska Radiotelevizija Hrt

Director: Mladen Santric

Story: Mladen Santric

Photography: [color]

Music:

Running time: 28 minutes

 

Story: A documentary with Croatian stuntmen who talk about making films in the 1960s.

 

Cast:

Miroslav Buhin, Nikola Gec, Ivo Krištof, Mladen Ptičar

Nikola Gec, Ivo Krištof, Miroslav Buhin and Mladen Ptičar each in their own way belong to the "golden stunt generation" when you could make a good living from film and television "doubling" and character roles. Although half a century has passed since the first film jobs, the passion of our heroes for stunts has not diminished. "Winnetou", "Old Surehand", "Winds of War", "The Iron Cross", "The Battle of the Neretva" are just some of the hundreds of films and series in which they fought, fell and died. This is the first film in which they did not have to play others...


Spaghetti Western Locations for “Face to Face”

We continue our search for locations for “Face to Face”. Siringo is seen riding into town with the body of one of Bennett’s henchmen. He’s offered the job of leading the vigilantes against the outlaws at Puerto de Fuego. At first, he refuses the offer He tells the city fathers he wants no part in leading a group of scavengers and rabble. He tells them his job is to arrest Bennett’s Raiders not the others of Puerto de Fuego. He tells them there’s a second Pinkerton man who’s already infiltrated the group and his name is Wallace.

This scene was filmed at the Elios town set in Rome, Italy.


For a more detailed view of this site and other Spaghetti Western locations please visit my friend Yoshi Yasuda’s location site: http://y-yasuda.net/film-location.htm   and Captain Douglas Film Locations http://www.western-locations-spain.com/


Special Birthdays

"La Polaca” (actress) would have been 120 today but died in 2010.









Victor-Christian Keune (actor) would have been 105 today but died in 2018.









Mirko Baiocchi (actor) would have been 105 but died in 1980.









Artemio Antonini (actor) would have been 100 today but died in 2001.







Ignazio Colnigee (actor) would have been 100 today but died in 2017.



Saturday, June 15, 2024

Spaghetti Westerns Podcast Season 8, number 3, #133

 

Please join me at noon PST today as we continue Season 8 of “The Spaghetti Westerns Podcast”. I’ll be covering “Dynamite Jack” starring Fernandel, in his only Spaghetti western, in our on-going “History of the Spaghetti Western” segment. Then we’ll discover “Whatever Became of… Gia Sandri. Followed by Helga Line “Who Are Those Gals? The Film of the Week is “China 9, Liberty 37”. The CD of the week will be “China 9, Liberty 37”. I’ll have an autograph, poster and book of the week. We’ll finish things up with The Bi-Weekly News. So, I’ll see you around High Noon on You Tube and Facebook.

From the WAI! vaul

 


Little Known Spaghetti Western Actors ~ Miroslav & Tomislav Buhin

[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.]

Miroslav ‘Miro’ Buhin, nicknamed Isus, was born on March 5, 1943, in Zagreb, Croatia, Yugoslavia. He graduated from a stunt school in Ljubljana and worked as a stuntman and appeared in small roles in the Karl May Indian films. Buhin says that he was not very pleased with acting. He felt that he was a stuntman rather than an actor and did not desire to be the center of attention. He remained faithful to his profession even after the filming of the Winnetou films was over. Because he could speak German and English, he was also cast in foreign productions. He last appeared on screen in “Josef” in 2011. Later in life worked as a stunt coordinator such as in ‘Game of Thrones’, he was a stunt coordinator in the fourth season episode "The Mountain and the Viper" in 2014.

Miro appeared in six Euro-westerns: “Winnetou - 1. Teil” (Apache Gold) as a track layer; “Winnetou - 2. Teil” (Last of the Renegades) in 1963 as a soldier; “Unter Geiern” (Frontier Hellcat), “Winnetou - 3. Teil” (Desperado Trail) in 1965 as an Indian bandit); “Old Surehand, 1. Teil” (Flaming Frontier) in 1965 as Nob Hara/O’Hara; “Winnetou und Shatterhand im Tal der Toten” (The Man With the Long Gun) in 1968 as a soldier. He also appeared more recently as a stuntman in the 2016 TV mini-series ‘Winnetou - Der letzte Kampf’ and ‘Winnetou - Der Mythos lebt’

In 2004 he was seen as himself in “Kaskaderski spomenar” a Croatian documentary about "Golden Generation" of Croatian stuntmen with video clips from some famous movies shot in ex-Yugoslavia, Socialistic Republic of Croatia during 1960-1980.

BUHIN, Miro (Miroslav Buhin) [3/5/1943, Zagreb, Croatia, Yugoslavia -     ] – stunt coordinator, stuntman, film actor, brother of stuntman Tomislav Buhin [1941-1985], married to producer Jolanda Buhin father of a son and a daughter.

Apache Gold – 1963 (track layer)

Frontier Hellcat - 1964

Last of the Renegades – 1964 (soldier)

The Desperado Trail – 1965 (Indian, bandit)

Flaming Frontier – 1965 (Bob Hara/O’Hara)

The Man With the Long Gun – 1968 (soldier)

Kaskaderski spomenar – 2004 [himself]

Winnetou - Der letzte Kampf (TV) – 2016 [stunts]

Winnetou - Der Mythos lebt (TV) – 2016 [stunts]


Tomislav Buhin was born on December 21, 1941 in Zagreb, Croatia, Yugoslavia and was the older brother of Miroslav ‘Miro’ Buhin. Like his brother he was also a stuntman. He never reached celebrity status like Miro but was a well-respected stuntman in the 1960s. Before becoming a stuntman, he worked as a locksmith. He died in 1985 after being run over by a car. By the time the ambulance arrived, he had suffocated.

Tomislav performed stunts in four Euro-westerns, all Winnetou films, “Der Schatz im Silbersee” (The Treasure of Silver Lake) in 1962; “Winnetou - 3. Teil” (Desperado Trail) in 1965; “Winnetou und das Halbblut Apanatschi” (The Halfbreed) in 1966 and “Old Surehand, 1. Teil” (Flaming Frontier) in 1968.

BUHIN, Tomislav [12/21/1941, Croatia, Yugoslavia - 1985] – stuntman, brother of stunt coordinator, stuntman, actor Miro Buhin [1943-    ].

The Treasure of Silver Lake – 1962 [also stunts]

Desperado Trail – 1965 [stunts]

The Halfbreed – 1966 [stunts]

Flaming Frontier – 1968 [stunts]


New CD release of “Le Pistole Non Discutono”

 








“Le Pistole Non Discutono”

(Bullets Don’t Argue)

(1964)

 

Composer: Ennio Morricone

Director: Mario Caiano

Starring: Rod Cameron, Horst Frank, Ángel Aranda, Vivi Bach

 

Country: Italy

Label: BEAT

#BCM9601

60TH anniversary edition

Tracks: 17

Total listening time: 41:45

Available: June 15, 2024

 

Track listing:

1. Lonesome Billy 1:50

2. Le Pistole Non Discutono 2:32

3. Gli Indiani 2:12

4. Le Pistole Non Discutono (Tema Chitarra) 2:02

5. Le Pistole Non Discutono (# 2) 4:41

6. La Ragazza E Lo Sceriffo 1:09

7. Le Pistole Non Discutono (Tema Chitarra # 2) 1:59

8. Le Pistole Non Discutono (# 3) 1:05

9. Gli Indiani (# 2) 3:41

10. Le Pistole Non Discutono (Cantina Messicana) 1:44

11. Le Pistole Non Discutono (# 4) 2:20

12. Gli Indiani (# 3) 4:19

13. Le Pistole Non Discutono (Tema Chitarra # 3) 3:00

14. Le Pistole Non Discutono (# 4) 1:59

15. Lonesome Billy (Stereo Mix) 1:50

16. Gli Indiani (Stereo Mix) 2:12

17. Le Pistole Non Discutono (Stereo Mix) 2:33

Who Are Those Singers & Musicians ~ Paco Michel

 

Jesús Flores Pereyra was born in Cuezalán, Puebla, Mexico on January 7, 1930. Known as Paco Michel he was a composer of popular songs, animator and actor.

Paco Michel spent a number of his teenage years working in the United States, where he began his musical career. He often worked shows with Margerita Sanchez (Gloria Becker) including playing together once in Idaho around 1948. They were hired by JR Simplot to entertain migrant farm workers.

He returned to Mexico in 1950 and by mid-decade was starting to appear on TV and in films like Caras nuevas. Michel wrote around 250 songs including "Ay Chabela" and "Creo en tí."

Paco was also an animator of television programs outside of Mexico. For two years he conducted La hora de Paco Michel in Cuba. In Spain it had a similar program that lasted almost five years. During his stay in Spain he directed the record label Pamidisc.

He is remembered for songs such as: 'Yo, El Aventurero', 'Te Vas A Casar', 'Contrato', '¡Qué rechulo es el amor!', 'Mari Carmen', 'En Tu Recuerdo' and what was his Greatest success, 'Y Háblame'.

He died on December 25, 1977, in Mexico City. His real name was Jesús Francisco Flores Pereyra.

Paco Michel sang two songs “Rosita”, “Corrido of Joaquin Murieta” which were featured in the 1963 Spaghetti western “Murieta! starry Jeffrey Hunter.

MICHEL, Paco (aka Fco. A. Michel) (Jesús Flores Pereyra) [1/7/1930, Cuezalán, Puebla, Mexico – 12/25/1977, Mexico City, Federal District, Mexico] – animator, writer, composer, songwriter, singer, actor, married to Mari Carmen Hernandez father of three children, married to Patricia R. Adame (19??-1977) father of one child.

Murieta! 1963 [sings: “Rosita”, “Corrido of Joaquin Murieta”]

Special Birthdays

Renato Izzo (writer) would have been 95 today but died in 2009.









Mina E. Mina (actor) is 90 today.



Friday, June 14, 2024

Spaghetti Western Trivia - Dean Reed [archived magazine articles]

 

Variety

3/7/1974

     Expatriate America singer, Dean Reed, is playing in “Keat and Co,” an East-German coproduction which recently wound shooting on location in suburban Petrozavodsk (Karelia), near the border with Finland. This is an adaptation of a short story by Jack London about life in Alaska. To re-create Alaska 50 huskies and sledges were brought from kolhoz of Chukotka (Far North). Leningrad students were recruited to play American golddiggers in mass scenes.


Variety

11/20/1974

AMERICAN STARRING IN E. GERMAN FILM

Frankfurt, NOV. 19

 

     American singer-actor Dean Reed is starring in a film to be made by DEFA, the East German government-operated studio.

     Pic is “Kid and Company,” based on the Jack London novel, with Renate Blume and Manfred in the other top roles. Film will be made on location in Hohen Tatra mountains, in Bulgaria, and a race with sled-dogs will be shot in Russia.

(The 50 huskies were brought in from Chukotka, in Okrug, a eastern federal subject of Russia.)

 

[submitted by Michael Ferguson]


Little Known Spaghetti Western Actors ~ Ramón Bugarini

[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.]

Ramón Bugarini Razo was born in Pueblo Nuevo, Guanajuato, Mexico on March 20, 1932. He appeared in 95 films from 1949 to 1971. He was best known for several appearances in Mexican Horror films such as “The Wrestling Women vs. the Aztec Mummy” (1964), “Hellish Spiders” (1968), “Santo vs. the Zombies” (1962).

Ramón was married to actress Marina Camacho (Margarita Camacho Estavilla).

Ramón Bugarini died in Mexico City on April 6, 2004. He was 72.

Bugarini appeared in only one Euro-western 1965’s “Viva Maria!” with Brigitte Bardot and  Jeanne Moreau in an uncredited role.

BUGARINI, Ramón (Ramón Bugarini Razo) [3/20/1932, Pueblo Nuevo, Guanajuato, Mexico – 4/6/2004, Mexico City, F.D., Mexico] – film actor, married to actress Marina Camacho (Margarita Camacho Estavilla) [1935-2008] (1961-19??).

Viva Maria! – 1965

Franco Micalizzi: Life is a movie, without the soundtrack it would suck (Part 2)

 

The film (“They Call Me Trinity”) was a resounding success both in Italy and abroad, decreeing Micalizzi's entry into the ranks of the most important Italian composers of soundtracks. The theme of that film is still one of Micalizzi's most famous songs. It will be used on Django Unchained by Quentin Tarantino for the final sequence and end credits. "All artists have their own Yesterday. At the beginning you say: 'Kill, this piece I've done is excellent', then they always recognize you for that, they just want that, and in the end maybe you don't like it anymore."

Ovidio Assonitis was one of the most prolific genre film producers of the 1970s. A Greek-Italian born in Egypt, in the 1960s he distributed over 600 films in the Southeast Asian market, and then began to produce and direct genre films inspired by the most famous successes of American cinema, such as Tentacles (after Jaws) or Stridulum (after The Exorcist), hiring American actors such as John Huston, Shelley Winters, Henry Fonda. In 1982 he produced Piraña paura, James Cameron's directorial debut. Assonitis fired the director after a few weeks of shooting, directing and signing the film himself. With The Last Snow of Spring, he inaugurates a successful trend, that of "tear-jerking films".

"Ovid was a madman. He was telling me two movies a day. He was always on the lookout for the coup. He had a cinematographer, Roberto D'Ettorre Piazzoli, who was very good... You know the ones who have a sense of framing, who always find the right color. It looked like a film made by the Americans, and it must have cost ten lire. The director of the film, Raimondo Del Balzo, did not have the physique, the soul, the charisma that a director should have. I never heard him say an idea, a thing, I had the impression that he had given money to direct the film and Ovid did not look anyone in the face. He said, "I want to make a huge hit, a lot of money, I'll kill my mom if I have to, I don't give a damn," that was his mentality. He wanted to put me in competition with other authors, but I didn't like it. However, not having many things to do, one night before dinner I sat down at the piano and instinctively some notes came. They didn't let me know anything and I thought they didn't have the courage to tell me it wasn't good, but I found out that they were filming and during filming, to create the atmosphere with the actors, they put on the piece I had composed."

"The final scene is shot on the wheel of an amusement park, where this sick child slowly dies in his father's arms. The wheel turns, beautiful, the images of this child, and with my music you immediately feel bad, you cry. It's mathematical. In the manifesto, Assonitis had written: "Too bad daddy won't see you again." But can you be meaner than that? My wife knew the film by heart, at the cinema I see a person running out of the room, in tears: it was her! The producer arranged a private screening for the three most famous critics of those years. While they were watching the film, we chatted outside and when the film was over, they came out, their eyes swollen and their faces practically deformed by crying. They were pissed off, very pissed off. They told us, very seriously: "You don't do these things. These are stab wounds given to the public." It was too punchy. We had made them cry by force."

"He cried all over the world. In Brazil it was an incredible success, in Argentina the song was in the charts for a year. One night I was home alone, I was making myself a pasta and I had the radio on. The program was The Hot Records, which was the best-selling chart, and that week my music debuted at number three. I was so confused that I didn't eat anything anymore. Once I get a phone call, no one is talking and I hear the record of the Last Snow of Spring in the background. I think: she will be the usual admirer. She was my middle school teacher. He didn't have the courage to talk to me, but he wanted to tell me that I was right to bet on music. Then he spoke to me: 'Franco, you're grown up now...'"

In the 1970s, hundreds of titles were produced in Italy. Many of these films, in addition to being incredibly successful at home, are exported all over the world. The Italian thriller, western, horror and detective stories were then rediscovered by American cinema. Quentin Tarantino has used numerous of Micalizzi's songs in his films, including the theme song for Death Proof.

"To a young person, I would say to see the great classics. In America they studied Bicycle Thieves, Miracle in Milan. There's that Anna Magnani run when she was shot by the Nazis in Rome, Open City, which I can see a billion times and every time I feel a strong emotion. The shamelessness of death, she on the ground with black stockings and a white thigh that appears. I think they only shot the scene once. Magnani was a difficult character, a very domineering person, but as an actress she grabbed you by the neck, she shook you."

"Our cinema was made with very little money. Certain scenes of the detective films I worked on for the Americans would have cost billions, we got by on a few lire. On violent Naples there is a sequence of a funeral that reminds me of those scenes of neorealism. There is the market, real, with its colors, and on the other side comes a Neapolitan funeral, one of those with the cart with black horses and feathers, and a very long line of people. Market life is a dead man locked in a coffin. As the funeral procession passes, the protagonists of the film can be seen running away, sneaking into the queue. And I ask the producer: "But how did you do this scene so rich, so complicated?" They knew there was going to be a funeral, so they contacted the lady on the third floor and for 300,000 lire they put the camera on the terrace. Do you see the inventiveness? The eye-catcher? There's nothing worse than a real funeral, people don't act. The Americans themselves, of course, very good, very organized, but such a scene would have cost a lot."

"Even the chases were all real. They would put the camera on a motorcycle in front of the car and drive off. It once ended up with a real police car chasing fake police. Half of the stunts who did these chases often did real robberies, the violence was real because they were underworld people, who got drunk in the nightclubs the night after filming and returned to the set the next day full of bruises."

The success of Italian genre films also derives from the particularity of the musical themes. Films were shot in a hurry, to take advantage of the success of the previous film or the American blockbuster that inspired them. Producers gave great freedom to composers.

"According to SIAE, and all in all it is true, the authors of the film are the director and the musician. They are the ones that really affect the material, because the screenwriters prepare the story but then they are not in the film, that is, they do not affect the film. Someone took this written thing and made it. In reality, there are endless helps, from the director to the cinematographer to the costume designers, the interior decorators, the stunts... There is also the editing, which for me is the third author of the film, the authorial passage that can change the tone of the scene. Watching the action, however, you realize that something is missing: "If there were some music underneath...". In cinema, it was immediately clear that the image alone could not live. Since the days of silent film, there has been a pianola underneath the action: we felt the need for something that would give depth to these black and white images. If you take away the music in some very beautiful sequences shot by Sergio Leone and watch the same sequence again, you say: "What a shit"! Because it's true, no one is aware that there is music at that moment."

"I'm terrible in life. You're so cocky, they tell me. Thank goodness! In our environment, if you're not at least a little cocky, you don't get anything done. With everyone who listens to what you do, you have to be convincing, because if you don't defend your work in some way... There is a phrase by Leonardo that I like very much: we are like insects in a painting. There is someone who realizes that he is in the painting and has the duty to be the protagonist, while the others are just insects, they look for the exit but they don't find it and they move until they die."

"Every once in a while you get to work with a director who doesn't understand a damn thing, pardon the bad word, and sometimes the producer is worse. Trinity's producer came into the studio and said, "Let me hear that thing they're doing there, that passage...", and he mimed... "Which one, of whom?" "I don't know, violins, no, no, no, what are the big violins called?" "You say double basses?", and I didn't understand... In the end, he wanted cellos..."

In addition to composing for the cinema, Micalizzi also creates soundtracks for the Italian versions of some Japanese cartoons. The compositional freedom for these projects gives him the freedom to experiment. The most famous is the ending theme song of Lupin III, sung by Irene Vioni and accompanied by the Liscio di Castellina-Pasi orchestra.

"You can see that hunger helps me, it reminds me that you have to eat and therefore you have to work well. I was back in the kitchen cooking spaghetti and this idea for Lupin came up. I didn't love smooth, I loved French music very much. I knew Casadei's liscio and I met Castellina-Pasi in the recording studio. I went to visit them in Cattolica and they had learned the piece perfectly, they had already arranged it and in their own way. Very beautiful. I recognize a worthy and not negligible characteristic of ballroom dancing: what they did responded to a popular but correct style, played very well."

Assonitis hires Micalizzi for his new film, which he will also direct: Stridulum. An important project, filmed in the United States with a cast of stars: John Huston, Glenn Ford, Shelley Winters, Sam Peckinpah. It's a mix between The Exorcist, The Omen, Close Encounters and Alejandro Jodorowsky's visionary films. It was an opportunity for Micalizzi to record in the United States.

"For me, it was an emotion. I didn't sleep at night thinking about what I was going to do the next day. I asked to find good musicians, but I quickly realized that there was no need to say it. A big orchestra, a lot of trombones, big double bass players, and you need physicality for the double bass. There was also a famous jazz musician on sax who stood there because he had to record for an Italian. They were all incredible and knew what to do on the fly. Oh well, so guys, well, let's go: at the first rehearsal it was played immediately with impact, better than I hoped it could turn out. I felt a pleasure, but you can't understand the pleasure, just a physical pleasure. There was Warren Wilson, who sang very well on Bargain with the Devil. I wanted to give him a style a little bit closer to spiritual, but instead he made it funky as hell. And the clavinet! I was the first to have it, I went to a store, and it didn't understand what it was. Then he started looking at the catalogues, and finally they ordered it from Austria. It has a sound that I like very much, because it's very effective, in certain things it's very funky, on certain tones you hear it full of irony and wickedness."

Stridulum, titled The Visitor in the United States, was not a great success, but over the years it became a cult film, so much so that it was released again in theaters in 2013 by Drafthouse, one of the most famous art film distribution companies in the United States.

In the main theme of Stridulum you can hear sounds similar to scratching, which did not yet exist, made with the synthesizer. Micalizzi's compositions have been used by the most famous producers and artists of hip hop: Gang Starr, Tyler The Creator, Kendrick Lamar, Danger Mouse, MF Doom, Slaine, Kool G, Ill Bill and numerous others.

"The first one was an American rapper called Cassidy. The phone rings at night, he's an Italian who makes clocks in America and he tells me about a rapper who wants to use a sample from one of my songs, but can't pronounce it well... Afiano (Breathlessness, ed.). He wants to know if I agree. I tell him to send me something, that I want to listen to him... At first I enjoyed the idea a lot because I felt the novelty of this thing, of these people who did it back then. African Americans have changed the music of this century. These Africans transported to the United States in contact with white culture introduced an explosive novelty, more than Mozart and more than Bach."

In 2006 Micalizzi participated in the project Gli Originali, playing with his Big Bubbling Band together with some of the best Italian rappers, including Colle Der Fomento and Kaos.

"Rap is a black thing. He has suffering, problems, racism, slavery on his shoulders: I have been chained, I have been whipped. When Frank Sinatra played, his orchestra members were thrown into another hotel. They have been subjected to racism and discrimination that we have never suffered. It's real protest music. We, on the other hand, always make music for the Zecchino d'oro or those who try to corrupt or amaze the bourgeoisie. Black people have a lot to say, but what do you have to say? De tu madre who brings you breakfast with two croissants... You live a well-being that does not justify all this anger. But Gli Originali was a wonderful experience, with the school of Italian hip hop of the 90s that had not yet been, there was a different way of saying things».

In addition to soundtracks, Micalizzi also composes soundtracks, hypothetical soundtracks that are then chosen by producers to set to music dramas or documentaries for TV, a creative process opposite to when there is a client for a specific film.

"I've made a few. It was a very productive time and they sounded great. Plus, you could do whatever you wanted, and they brought in great earnings. In the film, you start from the editing and imagine a piece of music. But you never have to get out of the story, if at some point there's a scene that has nothing to do with it and you feel like making a completely different music, you have to make sure that it has to do with the rest of the film. You can't get out of the spirit of that film, so your style, your poetics, has to hover. It has to be a continuous flow. With the libraries I was able to make music of all genres, from minuet to symphonic. I enjoyed switching genres with each piece. I also asked a lot of other composers, the good ones, to write things. And they were happy because things went well. If you hear them, there's not a song you can criticize."

"Sometimes I hear songs, of which I sing incredible praises, then I remember that it's my piece, and maybe thirty years have passed. You put the music at the right time in the movie, and maybe no one really pays much attention to it. Watching the action again, though, you realize that the scene would be missing something if it wasn't for exactly that music underneath. The horror vacui of silence. But it's also easy to make the scene worse, for example when there's too much music. Or when it's badly mixed."

The soundtracks were recorded in a few specialized recording studios, where the great composers of those years were constantly intertwined, often working with the same musicians.

"The Renaissance or other similar eras did not happen by chance. There are brilliant personalities who act in the field of art, but it is the human dimension that brings them into contact. Art needs commonality, even criticism of one another. Today, with smart working, which we artists also do at 80%, we have totally lost touch. I need to physically speak, to feel the vibrations that come to me. The things we say to each other on the phone are completely different from what we would say if we had looked into each other's eyes."

"The popular genre can be done very well, but today I see a lot of provocation, a lot of characters, a lot of aesthetics. Emotions are created through destructive behavior. But where's the style? Where is the idea? Where's the creativity? I would talk about music with my colleagues, but I'm not here anymore. When you have to have a meeting of the composers' union, you go to the cemetery, and I'll make Morricone president! I'm a survivor and it's a bit like that, you find yourself alone and when you say something they don't understand you, the others don't know what I'm talking about."

"Why? Eh, I don't know. Too many things I have to wonder. I know I don't know. Socrates said it, I say it too. And the only absolute truth, we don't know anything. With everything we've gone far into space. I don't know if we'll ever understand. I am convinced that you always live, life is already done. Time is an illusion, because it does not exist. When something is done, time, cinema, music form like rings like those of dubbing, so the scene is all already made. But you put it in front of the camera, you start with the engine and you see that it has an unfolding, you follow a script already written. Life is a comedy. You're already codified, and you have to play your part."