RIP Damien Thomas

 

British actor Damien Thomas died in London on April 18^th a week after turning 83. Born in Ismalia, Egypt on April 11, 1942. He was known for his appearance as Count Karnstein in Hammer’s 1971 horror film “Twins of Evil” to TV viewers he was Father Alvito in the Shogun mini-series, Thomas appeared in one Euro-western as Don Xavier Miguel Francisco Caroga in 1991’s TV series “The New Zorro” starring Duncan Regehr.

Little Known Spaghetti Western actors ~ R.W. Colombini

[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.]

Robert Walter Colombini is a supporting actor born in Italy in 1969. He’s appeared in eight films between 2013 and 2023. He also has one credit as a cinematographer and one as a boom operator. Other than that I can find no biographical information on him.

He’s appeared in two Euro-westerns: “The Green Furies” in 2012 as Porter Murphy and “Welcome to Elderstorm” in 2014 as Walter Krauss

COLOMBINI, R.W. (Robert Walter Colombini) [1969, Italy -     ] – cinematographer, film actor.

The Green Furies – 2012 (Porter Murphy)

Welcome to Elderstorm – 2014 (Walter Krauss)

‘For a Few Dollars More’ (1965) surpasses its predecessor

The Stanford Daily

By Mason Barrett

April 8, 2025

Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.

It’s time to return to the viciously violent world of Sergio Leone’s “Dollars Trilogy”. The second installment, “For a Few Dollars More” (1965), is the follow-up to the first movie of the trilogy, “A Fistful of Dollars” (1964). However, the two films are connected practically only by the film’s protagonist, played by Clint Eastwood. To be clear, Eastwood’s character in “A Fistful of Dollars” is not the same as his character in “For a Few Dollars More.” You can absolutely watch one without watching the other — it’s a trilogy in the loosest sense.

The film follows two bounty hunters, Manco (Clint Eastwood) and Col. Douglas Mortimer (Lee Van Cleef), who both come into conflict with one another whilst pursuing the same bounty. The bounty in question is for recent prison escapee El Indio (Gian Maria Volonté) and his gang of bandits who plan to rob the El Paso Bank. Manco and Mortimer set aside their differences and team up. Manco infiltrates the gang and works from the inside. It’s a story of near constant betrayal, treachery and surprises.

This film improves upon the frustration I outlined in my review of “A Fistful of Dollars.” I found the narrative of “A Fistful of Dollars” unclear and hard to follow to the point where it lost some of its emotional resonance. Relative to “A Fistful of Dollars,” this film is much easier to follow.

The first half-hour exceptionally demonstrated this as Mortimer, Manco and El Indio were each given a separate sequence that introduced their skill, personality and morality. Their introductions were not only thrilling action sequences but also gripping introductions. The sequences effectively communicated that the rest of the film focuses on what happens when three powerful forces butt heads.

The film is still complicated and hard to follow compared to most movies. Leone’s attitude toward storytelling is impatient and feels like that of a parent telling their child, “We’ll get there when we get there.” This can create an insecurity that you’re missing something important. This was a problem with both “A Fistful of Dollars” and “For a Few Dollars More”, but the latter retained its dramatic nature. The conflict between the three main characters was clear even when the plot and character motivations felt muddy, resulting in noticeable improvement.

The film is visually and audibly stunning. Ennio Morricone’s epic score compliments the gorgeous shots of the desert. Every shot with Mortimer, Manco or El Indio effectively presents each of them as intimidating and powerful. The cinematography does an excellent job of representing conflict to the point where most conversations feel like they toe the edge of violence. The men can be described as nothing short of mythic: portrayed more like superheroes or Greek gods than ordinary people. The music and visuals serve to heighten their power. The world bends to the titans as they clash.

I much prefer this film to its predecessor. It’s not a perfect film, but the clash between the characters makes it epic, causing the story to unfold in a much more emotionally powerful way. I’d recommend watching this film a second time, as it becomes a lot more powerful when you have a more complete understanding of the narrative.

This spaghetti western is a flawed yet epic fantasy with great characters — main or side — beautiful cinematography and an incredible score.

Special Birthdays

Pupella Maggio (actress) would have been 115 today but died in 1999.

Giorgio Fabor (composer) would have been 105 today but died in 2011.

Little Known Spaghetti Western actors ~ Judy Collins

[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.]

Judy Collins is another of the many unknown actors and actresses who were involved in the Euro-western genre. In almost every filmography she is credited as the American singer Judy Collins but as you can see from the screengrab above taken from her only film credit and only Spaghetti western “Ninguno de los tres se llamaba Trinidad” (The Fat Brothers of Trinity) in 1972 as Liz they are not the same person.

Was this Judy Collins an American, Canadian or British actress or was it an alias for a Spanish or Italian actress?

COLLINS, Judy – film actress.

The Fat Brothers of Trinity – 1972 (Liz)

Here's a photo of American singer Judy Collins and what she looked like at that time. They are NOT the same person. 

Sons of Bitches

 

Sons of Bitches – English title

 

A 2017 Swedish film production [A 2017 Swedish film production [Nitrium Films, Tschudi

     Brothers Productions, Chaoticlock Films (Stockholm)]

Producer: Arnaud Baur, Olivier Beguin, Raphaël Tschudi

Director: Arnaud Baur

Story: Arnaud Baur, Colin Vettier

Screenplay: Colin Vettier

Cinematography: David Baumann [color]

Music: Frédéric Perrier

     Songs: “Sally”, Hanging Cats” sung by My Name is Fuzzy

Running time: 20 minutes

 

Cast:

Sally - Sandra Zellweger

Prostitute - Pauline Schneider -

The Pimp - Antonio Buíl

Hunter - Raphaël Tschudi

Henchmen - Gregory Lukac, Christian Mukuna

Mortician – Texas Joe

Cients: Cedric Imwinkelried, Jose Miranda, Michel Imhoe, Yann Schmidhalter

Horse - Lorient

Stunt coordinator: Pascal Mutzenberg

Stunts: Amelie Dorier, Simlin Guignard

Sally is a prostitute in a small town in Wisconsin. As she can no longer bear the abuses and fears for her baby's life, she decides to run away and face the cold and snowy mountains instead of enduring the violence one more day.

Entire Film: https://www.youtube.com/watch?v=qE_wk6-O_SI

Who Are Those Gals? ~ Irán Eory

 

Irán Eory was born Elvira Teresa Eory Sidi in Teheran, Iran on October 21, 1937. Her father was an Austrian Jew and her mother an Iranian Jew. Irán was given as the screen name for her, because it suggests her birth country.

Eory was raised in Spain, where she learned Spanish, and entered a beauty contest in Monaco, where she was noticed by Prince Rainier. She started her acting career before emigrating to Mexico in the late 1960s, hoping to become an actress, singer, and a theatre producer. She reached her peak of popularity in the 1970s. This is due to her participation in the two longest soap operas in the history of Mexican television: ‘El Amor Has Cara de Mujer’, in 1973, and ‘Mundo de Toy’, which began in mid-1974.

At the end of the 1970s she launched herself into a new career of theatre musicals, specializing in the zarzuelas.

In the 1980s she began to have health problems which led to partial paralysis and out of the public eye. By the early 2000s she felt she had recovered enough to plan a new television production which she would appear in. It was then she suffered a brain hemorrhage and died from an embolism at 64 in Mexico City on March 10, 2002.

Eory appeared in over 90 films and television series among which were two Spaghetti westerns: “Zorro the Avenger” in 1962 as Luisa and “The Man from the Cursed Valley” in 1964 as Gwen Burnett with Ty Hardin.

EORY, Irán (aka Iran Eori, Elvira Eory, Iran Eory, Yran Eory) (Elvira Teresa Eory Sidi) [10/21/1937, Teheran, Iran – 3/10/2002, Mexico City, Federal District, Mexico (cerebral embolism)] – model, producer, film, TV actress, singer.

Zorro the Avenger – 1962 (Luisa)

The Man from the Cursed Valley – 1964 (Gwen Burnett)

Special Birthdays

Luciano Benetti (actor) would have been 95 today but died in 2017.

Franco Citti (actor) would have been 90 today but died in 2016.

RIP Miguel Bordoy

 

Les Gens du Cinema reported that Spanish character actor Miguel Bordoy died in Zurich, Switzerland on April 18^th, a week after turning 81. Born Miguel Bordoy i Gil in Barcelona, Catalonia, Spain on April 10, 1944. He appeared in films since his first uncredited appearance in 1965’s “Fata/Morgana” (Left-Handed Fate) but there’s little known about the man. He appeared in over 75 films, the latest as Padre Dani in 2020’s “Cross the Line”. Bordoy appeared in six Spaghettiwesterns: “Joe Dexter” in 1964 as Joe Palmer, “Long Days of Revenge in 1966 as a bartender, “The Boldest Job in the West” in 1971 as a bartender, “The Buzzards and Crows Will Dig Your Grave” in 1971 as a blacksmith, “God in Heaven, Arizona on Earth” in 1972 as a waystation proprietor and the slain girl’s father in 1974’s “The Spike’s Gang”

Little Known Spaghetti Western actors ~ Tommy Collet

[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.]

Tommy Collet was apparently a British child actor. He appeared in five films all in 1914 usually portraying “Pimple” (Fred Evans) as a young boy. This would mean he was born around the turn of the 20^th century.

His only Euro-western was “Big Chief Little Pimple” in 1914 as young Pimple/Flivver

COLLET, Tommy (Thomas Collet) [British] – child film actor.

Big Chief Little Pimple – 1914 (young Pimple/Flivver)

 

This 92% Fresh Sergio Leone Spaghetti Western Changed Its Name 3 Times (But It's Still Perfect)

Comic Book Resources

By Angelo Delos Trinos

April 5, 2025

Duck, You Sucker! is, ironically, best known for being the most forgotten film of Sergio Leone's career. It doesn't help that the film changed its title three times after struggling to earn sales in its opening week. These constantly changing titles may be proof of a chaotic promotional cycle, but they don't speak to the film's quality. Not only does Duck, You Sucker! still have a strong 92% rating on Rotten Tomatoes, but it's a great film in its own right.

While it may not be a go-to favorite of fans of Leone and Spaghetti Westerns, Duck, You Sucker! is one of Leone's most important works. It could be argued that it's more important than the classics that turned both Leone and actor Clint Eastwood into irreplaceable titans of the Western genre and cinematic history. Duck, You Sucker! may not have left the same kind of impact that The Man With No Name did, but it's the kind of film that will speak to the moment in more ways than anyone expects.

Duck, You Sucker’s! Title Was Caused by Sergio Leone’s Honest & Hilarious Mistake

The Film’s Title Was Changed in Response to Its Poor Box Office Performance.

To anyone who watches the film for the first time, Duck, You Sucker! seems to have gotten its title from a catchphrase that its two main characters share. John H. Mallory first uses it as a joke when he blows up the fancy carriage that Juan Miranda and his family of bandits hijacked. Later, Juan borrows the phrase when he blows up the prison's metal door with some dynamite that John gave him. Even if he was motivated by greed at the time, Juan's use of the phrase is more heroic than the time John used it in his introduction. The last time the phrase is heard is during the film's darkest hour. Here, John rescues Juan from a firing squad. He made his presence known by telling Juan to duck as he hurled explosives around the military camp. From there, the film gets bleaker until its tragic ending.

Besides the fact that John and Juan used it a lot, Duck, You Sucker! was titled as such because Leone was — for some reason — confident that the phrase was a popular and well-known colloquialism in America. Additionally, "Duck, you sucker!" was Leone's very loose English translation of the Italian idiom for "Duck your head, dumb***!" Against better judgment and the suggestions of American colleagues who assured him that the phrase was not a part of their everyday parlance, Leone stuck with the title. This proved to be one of the biggest mistakes committed by the film's marketing. To American viewers, the title simply wasn't catchy, or it sounded like a weird anachronistic phrase.

It didn't help that Duck, You Sucker! was advertised in trailers and posters as a fun buddy-comedy, even if this lighthearted tone was only true for the epic's first half. This contradicted both Leone's preferences, and what audiences came to expect of the filmmaker behind the famously cynical The Dollars Trilogy. What's more, the film was cut down by almost 30 minutes due to its violence and overtly political themes. Worse, and for some reason, the film prints that cinemas got at the time were of poor quality. In an attempt to attract audience's interest, United Artists renamed the film to A Fistful of Dollars. This title not only evoked that of A Fistful of Dollars and For a Few Dollars More, but turned Duck, You Sucker! into the "spiritual successor" of Leone's trilogy.

When A Fistful of Dynamite still failed to sell more tickets — most notably in international markets — it was then renamed to Once Upon a Time... the Revolution. This third name change evoked Leone's other Western epic, Once Upon a Time in the West. Some countries even got the film when it was titled Once Upon a Time in Mexico, especially when it made its way to home video. Coincidentally, Duck, You Sucker's! last unofficial title was reused by filmmaker Robert Rodriguez for his own Spaghetti Western tribute and the finale of El Mariachi's trilogy. When the uncut film was remastered for home video decades after its release in the '70s, its original title was restored. Since then, pretty much everyone refers to Leone's final Spaghetti Western as "Duck, You Sucker!"

Duck, You Sucker! Is a Very Different Kind of Spaghetti Western

The Film Is Notably More Politically Charged Than Its Contemporaries

None of this is to say that Duck, You Sucker! is bad. On the contrary, it's one of the best and most subversive Spaghetti Westerns of its time. Given how the late '60s and early '70s were absolutely swamped with nihilistic Westerns that starred amoral bounty hunters and callous gunslingers, this says a lot. It's also worth pointing out that Duck, You Sucker! is one of the most politically aware films of its kind. Where the likes of The Good, the Bad and the Ugly or The Outlaw Josey Wales did their best to skirt around the racism and politics that were so synonymous with the eras they were set in, Duck, You Sucker! faced them head-on.

However, what's truly fascinating about Duck, You Sucker! is that it's one of the few Hollywood films to deconstruct the romanticization of revolution in fiction. Duck, You Sucker! is set against the backdrop of the Mexican Revolution and the government's harsh but ultimately futile attempts to stamp it down. As much as Juan wants to avoid this reality, especially since he's been burned out by revolutionary ideals in the past, he's dragged into it and even made a hero of the revolution. Of course, John played a part in making this happen, partly as a prank. However, Juan's participation in the revolution was inevitable, given just how widespread the uprisings and violence had become.

Unlike in other historical films, revolution in Duck, You Sucker! is not portrayed as cleanly heroic and easy. Instead, it's brutal and traumatizing. The oppressors are already cruel but become inhuman in retaliation for any defeat that the rebels hand them. The revolutionaries themselves are imperfect to a painfully human degree. Although their hearts were in the right place, they were not above committing their own sins (like selling out their comrades) to save themselves. As Juan bitterly pointed out, revolutionary leaders often let others do the fighting and dying while they were safe in the rear. John also saw these first-hand when he still fought for the revolution against British rule in Ireland. Unsurprisingly, this left him a bitter and jaded cynic in the present. All this was intentional on Leone's part, who used Duck, You Sucker! to comment on similar uprisings that were erupting globally at the time.

Leone wanted to show the dark realities and harsh demands of revolution to those who idealized righteous rebellion and nationalism. It's also worth noting that Leone, along with his fellow Italian artists, were reconciling with their country's fascist past and its alliance with Nazi Germany in World War II. Leone also grew up during Benito Mussolini's rule. He knew from experience just how monstrous fascists were, and how costly revolution was. That said, Duck, You Sucker! wasn't made to dissuade rebellion. Rather, it warned people of what they would be facing if they were serious about taking up arms against a government. After all, John and Juan were reluctant but ultimately heroic rebels who helped overthrow a petty tyrant and his private army.

Given how Leone became a cinematic legend after he demolished the mythic Wild West by exposing its inherent amorality and violence, his somber approach to Duck, You Sucker! is no surprise. Leone's demystification of revolutions didn't just help this film age well, but it also made it one of his best and most underappreciated works. Leone's collaborations with Clint Eastwood and Charles Bronson changed filmmaking and fiction forever, but they weren't as thematically resonant and relevant as this film. Where The Dollars Trilogy and its spiritual successor/epilogue Once Upon a Time in the West commented on a popular genre, Duck, You Sucker! spoke to the real current events of then and now. In a broader context, Duck, You Sucker! is one of only a handful of Westerns (Spaghetti and otherwise) that not only acknowledged its era's injustices, but was so brazenly politically charged as well.

Special Birthdays

Ettore Bruno (actor) is 85 today.

Little Known Spaghetti Western actors ~ María José Collado

 [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.]

Maria José Collado was a Spanish character actress. I’ve seen no reference that she was related to yesterday’s unknown actress Carmen Collado.

Maria José appeared in only five films between 1962 to 1966 with four of those being Spaghetti westerns. She played a waitress in “Los pistoleros de Casa Grande” (Gunfighters of Casa Grande) and a Mexican nursemaid in “Murieta!” both from 1963, as Sarita in “El hijo del pistolero” (Son of a Gunfighter) in 1965 and as Felton’s maid in “Johnny Yuma”.

COLLADO, María José (aka Mª José Collado) [Spanish] – film actress.

Gunfighters of Casa Grande – 1963 (waitress)

Murieta! – 1963 (Mexican nursemaid) [as Mª José Collado]

Son of a Gunfighter – 1965 (Sarita)

Johnny Yuma – 1966 (Felton maid)

Samson Burke Interview 2002. (Part 3 of 3)

Based on notes taken during an interview, conducted by Larry Anderson, and Gord Hammer, with the great SAMSON BURKE in Toronto on September 8, 2002.

After having some photos autographed, we started to ask him a few questions about his career in

Gordon Harmer: How about John Garko?

Samson Burke: Garko was a little hard in his own way, he meant well. He had a style, a nature. He worked on the stage quite a bit. He was a good stage actor as well. He made a lot of Westerns as well.

Gord: What about Wandisa Guida?

Samson: She was a very pretty girl. She got married soon after that (REVENGE OF URSUS), and never worked again. I saw her once after that. I stopped her in the street, she didn’t want to work anymore. She said goodbye and that’s all that matters.

Gord: Do you remember your involvement in THE ODYSSEY mini-series, where Mario Bava directed you as Polyphemus, the Cyclops?

Samson: Polyfemo (the Italian way). No, I don’t remember the director, nor Bava. They got me at the last minute; I never forgot that, I never had a chance to remember the script. I was in a scene with these little lambs, so I put the script under them, and could see the script. I was reding from the script and petting the lambs and reading for about 15 minutes. I couldn’t remember the whole thing at once, it was too heavy, so I just read it. 2 or 3 pages, full, of just me talking. So that’s how I did that part. The strangest part was, the cameraman and everyone on the set was clapping and yelling, Bravo! Bravo! You never heard a roar like that in your life. You’d think it was the start of the opera or something. They didn’t know how I remembered all that dialogue. I did stay up till 3 o’clock in the morning, just learning my lines for the NIBELUNGEN. Slept 2 hours a day, worked 12 hours a day.

Larry: The NIBELUNGEN was cut down from 10 hours into 2, 1 1/2hour movies called WHOM THE GODS WISH TO DESTROY and THE REVENGE OF SEIGFRIED.

Samson: That was filmed in Iceland, Yugoslavia Rome and Germany.

When I was in Germany, I went over to Spandau Prison and saw Rudolph Hess. Walking around all day by himself, with a British guard on the outside of the prison. I was on a hill looking down. That was a sad thing to see, a man all by himself. They kept him alive.

Gord: MAGNUM P.I., what did you do in that series?

Samson: I worked as a villain in that. I did a heavy part where I had to fight with Roger Mosley the helicopter pilot. I always try and fill in wherever I can. I made sure the angles were right in the fight scene, so I had optimum camera time. I had more of the camera on me, hogging the camera. I got more camera time, so people remember.

Larry: Tell us about your work with Fellini.

Samson: I played a pilot. I did it in one day. Fellini never uses a script. He just films things that pop into his head. First I played the Centaur, then I put on a pilot’s uniform. There was an actual pilot there, pretending to be a passenger, to tell me what to do, what controls to operate. There was a cockpit of a plane with a moving screen outside the window, so it looked like the thing was moving. A lot of hollering people, then I took off. That was the only little part that was in there, why, I don’t know. He obviously used it for something, but which title, I don’t know.

Gord, Larry: We’ll have to check out all of Fellini’s films and find those parts. (The scenes are not in JULIET OF THE SPIRITS or SATYRICON).

Samson: He used a lot of people as chess pieces, and animals. If you look at it straight in a sensible way, you think it’s weird. But who knows? He was supposed to be a genius. Everybody paid a lot of money to see his films.

Gord: Gordon Mitchell told me he didn’t get paid for some of his films. Did that ever happen to you?

Samson: He worked for a director called Emimmo Salvi, who would promise him things and tell him all kinds of fantasies. “There is a problem with the money it’s coming in, etc.” He never got paid. That never happened to me. When they sent a car to pick me up. I either wasn’t home or I wouldn’t go. They’d try all day to get me. When they finally did, I said, “If you don’t pay me any money, I don’t want to do any work.” All of a sudden, “We made a mistake, here is your money”, and they paid me for a week. That was the only way you could work there. They fooled a lot of people.

Gord: What was it like being a star of these films?

Samson: I was in Morocco and decided to visit the Kasbah. I was walking down the street and turned to see a horde of people following me. I thought that I’d done something wrong, so I asked the guide. He explained that there were 2 of my films playing in town and all these people recognized me. It was a little unnerving.

Larry: Was the set for REVENGE OF URSUS, all outdoors, or was it in a studio?

Samson: All outdoors. That was originally the CLEOPATRA set. I wish I had known you were interested in that, I’d have brought you a big color brochure from the movie, which I have at home. I’ll catch you next time. (Probably an Italia press book, which are very elaborate). I’ll being my albums with stuff from my other films as well.

Larry: I’ll be waiting at the airport. I’ll also put some videos together on your films.

Gord: Did the Stooges joke a lot on the set? Were they fun to work with?

Samson: All the time. I had a lot of fun making that film. The Stooges were true professionals. They would act out their parts and “fill in the spaces” and make everyone else look good as well.

Gord: Are you hanging around Toronto for a few days”

Samson: No, I have to fly out tomorrow. I work as a personal trainer in Miami and have a client tomorrow night. I give only personal lessons, which I’ve been doing for 4 ½ years now. I have a good clientele.

So ends the interview with the mighty Hercules, SAMSON BURKE.

With Larry Anderson and Gordon Harmer.

A very big THANK YOU to Bob Kotsopoulos for arranging to have Samson Burke at the Toronto show.

[Thanks to William Connolly for permission to post this interview]   

Spaghetti Wwarwen locations Then and Now – “Sting of the West”

In 1972’s “Tedeum” (Sting of the West) we see a steam train exiting a tunnel. The tunnel is located in Fonelas, Granada, Spain.

Here’s the exact location as seen in 2021.

European Western Comic Books – Carabina Jones

 

Carbine Jones

This comic book features the Western adventures of the former Confederate officer Jones Lambert and the Indian Little Fox, written and illustrated by Pini Segna. In the appendix to nos. #s1-27 “The Disappeared Expedition” also created by Segna, which continues on Patrol K. The cover graphics change with #22. Issue #1 was published on January 11, 1953, and ended with issue #27 on July 12^th of that same year. The publishing house was MTO in Milan, Italy under the direction of editor Marino Tomasina. Each issue contained 31 black and white pages with color covers.

 

Titles

01 (11.01.53) - “Drammatico ritorno” (Dramatic Return)

02 (18.01.53) - “Ombre nella notte” (Shadows in the Night)

03 (25.01.53) - “La tribù dei Corvi Neri” (The Tribe of Black Crows)

04 (00.00.53) - “La valle del silenzio” (The Valley of Silence)

05 (00.00.53) - “Il sosia” (The Double)

06 (00.00.53) - “L’astuzia di Piccola Volpe” (The Cunning of Little Fox)

07 (00.00.53) - “Gioco pericoloso” (Dangerous Game)

08 (00.00.53) - “Il grande confronto” (The Great Confrontation)

09 (00.00.53) - “Tragico errore” (Tragic Mistake)

10 (00.00.53) - “Lotta disperata” (Desperate Struggle)

11 (00.00.53) - “Il segnale” (The Signal)

12 (00.00.53) - “Terra bruciata” (Scorched Earth)

13 (00.00.53) - “Il villaggio della desolazione” (The Village of Desolation)

14 (00.00.53) - “I serpenti del deserto” (The Serpents of the Desert)

15 (00.00.53) - “L’oasi d’oro” (The Golden Oasis)

16 (00.00.53) - “Il tesoro dei Maya” (The Treasure of the Maya)

17 (00.00.53) - “Regno sotterraneo” (Underground Kingdom)

18 (00.00.53) - “Piccola Volpe scompare” (Little Fox Disappears)

19 (00.00.53) - “Ultma speranza” (Last Hope)

20 (00.00.53) - “Fra le fiamme” (In the Flames)

21 (00.00.53) - “La carica” (The Charge)

22 (00.00.53) - “La grande battaglia” (The Great Battle)

23 (00.00.53) - “Assalto alla diligenza” (The Stagecoach Robbery)

24 (00.00.53) - “Il nemico misterioso” (The Mysterious Enemy)

25 (00.00.53) - “La trappola infernale” (The Infernal Trap)

26 (00.00.53) - “I ladri di bestiame” (The Cattle Thieves)

27 (12.07.53) - “Giustizia è fatta” (Justice is Done)

Easter 2025

 

From the WAI vault

 

Little Known Spaghetti Western actors ~ Carmen Collado

 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.]

Carmen Collado was born in Valencia, Valencia, Spain on June 21, 1897. She was a Spanish theater and film actress who began her career in the theater. During the 1920s, she was a member of several prestigious theater companies, including the Andamuz-González, Ladron de Guevara-Rivelles, and Angulo-Rambal companies. In the 1930s, alongside her husband, actor Enrique García Álvarez, she became a prominent figure in the company of Valeriano León and his wife, Aurora Redondo when they embarked on a tour across the Americas. She performed in key productions, including the acclaimed “Yerma” (1934), written by Federico García Lorca, where she shared the stage with notable figures such as Margarita Xirgu, Enrique Diosdado, and Pilar Muñoz.After the Spanish Civil War, she was exiled to Mexico, where she transitioned into cinema. She made her film debut in 1942 in “Jesús de Nazareth”, directed by José Díaz Morales, portraying the character Claudia, and shared the screen with José Cibrián, Adriana Lamar, and Aurora Walker. That same year, she starred in the drama “Secreto Eterno”, directed by Carlos Orellana, alongside Orellana, Marina Tamayo, and David Silva. Her final known performance came in 1965 playing a townswoman in the Spanish, U.S.A. co-produced Spaghetti western ““El hijo del pistolero” (Son of a Gunfighter), directed by Paul Landres and starring Russ Tamblyn.

COLLADO, Carmen [6/21/1897, Valencia, Valencia, Spain – 3/21/1981, Mexico City, Federal District, Mexico (bronchopneumonia)] – film actress, married to writer, actor, singer Enrique García Álvarez [1896-1973] (19??-1973).

Son of a Gunfighter – 1965 (townswoman)