My Name is Nobody

The truth of the wild west was that it was a particularly nasty place. Of all the sheriffs, marshals, cowboys, bandits, gunfighters and hired guns that gained infamy -- good or bad -- in the years following the Civil War, I feel safe saying very few got to choose their ending. Many died bloody in horrifically violent fashion. It's a simple theme of countless westerns; choosing how you go out, how you die when your time is up. Among other things, it's a theme that makes up the best parts of 1973's My Name is Nobody.

A famous gunfighter who's gained notoriety wherever he goes, Jack Beauregard (Henry Fonda) has decided to leave his infamous reputation behind him. It's 1899, and the west that he knew is becoming a thing of the past. His plan is simple; buy a ticket on a ship in New Orleans and sail away to Europe where no one knows him or his own past. That's his plan at least. On the trail, he keeps meeting a younger gunfighter known simply as Nobody (Terence Hill) who has his own plans for Beauregard. He's followed Beauregard's busy and checkered past and finding out that he intends to retire, wants him to do otherwise in glorious, bloody fashion. Nobody wants Jack to face off against the infamous Wild Bunch, a gang of 150 killers and gunmen, stamping his name in the history books.

From director Tonino Valerii, 'Nobody' is one weird revisionist-comedy-spaghetti western. It is based on a story idea from spaghetti western directing legend Sergio Leone, and there are rumors/reports that he even directed some scenes here. It is both equal parts goofy, slapstick comedy and some really poignant scenes about the closing days of the wild west. Often times, it plays almost like a tribute to the western genre, both American and spaghetti westerns. On the other hand, it creates its own identity while still paying tribute. Composer Ennio Morricone's score borrows liberally from his previous scores -- most notably Fonda's Frank Theme in Once Upon a Time in the West -- and even uses samples of Wagner's Valkyrie score (listen HERE) for the Wild Bunch theme. Give the main theme a try HERE, a little lighter in theme and tone. The locations, the music, the obvious love of the genre, it's all there.

Using a familiar western pairing of the experienced, veteran gunfighter and the young up-start looking to make a name for himself, 'Nobody' again takes something familiar and makes it different while still working. Fonda is the veteran gunfighter, his Jack Beauregard having simply outlived the era that made him a known name. He just wants to retire, leave the name behind, and more importantly the target painted squarely on his back. Hill's mysterious Nobody isn't going to allow it, wanting his hero to go out in a blaze of glory. He may not want to allow it, but he never forces Jack to do anything, just keeps on talking and talking, trying to convince him to follow the path he should take. They have a great dynamic; Fonda amused at first by Nobody, Hill with an ever-present smile on his face. Nothing is ever spelled out, but there's almost a protecting angel aura hanging over him. However it's interpreted, it's two good parts.

Either Fonda or Hill is in almost every scene, but 'Nobody' has an interesting, even surprising supporting cast. Jean Martin plays Sullivan, a mine owner in business with the Wild Bunch to distribute his stolen gold (an odd, unnecessary storyline). Familiar American faces R.G. Armstrong, Geoffrey Lewis, Steve Kanaly and Leo Gordon make quick appearances as various gunfighters gunning with and gunning for Jack. Among several familiar spaghetti western faces look for Mario Brega and Benito Stefanelli among others.

The biggest thing preventing this tribute western is a self-indulgent streak right up its back. I like Hill a lot as an actor, but I've never been a huge fan of his overly comedic parts. His Trinity westerns are infamous for a slapstick comedy that typically divides fans into the love/hate department. The first 80 minutes here give Hill plenty of chances -- far too many -- to show off that physical ability. One scene has Nobody in a bar seeing if he can chug booze/beer, throw the glass over his shoulder and shoot it before it hits the ground. Watch it HERE. While interesting in itself, it just goes on too long. Then there's the sped-up fight scenes, Hill slapping opponents over and over again before they can draw a gun on him. These are all things that could be funny/worthwhile in small doses, but it just goes on too long here.

The saving grace here is the final 30 minutes, a pretty perfect finale that helps the movie end on quite the high note. Nobody finally gets Jack to believe in his Wild Bunch shootout, an artsy, well-done sequence that pits Jack against the small army of gunmen on an open prairie. The follow-up is even better and offers a solid twist as Jack and Nobody end up in New Orleans. No spoilers here, but it works well. The highlight though is Jack's letter to Nobody about the changing times, what to look out for, and how the world and wild west has changed. It's a simple, eloquent ending that manages to wrap up on quite the freeze frame. The movie in its entirety is a mixed bag, but I loved it when it works.

My Name is Nobody (1973): ***/****  

Man of the East

By 1972, director Enzo Barboni and star Terence Hill had already teamed up for movies over back to back years that audiences ate up, 1970's My Name is Trinity and 1971's Trinity is STILL My Name. His follow-up is an unofficial sequel to those two flicks, and it's a good one. Thanks to MGM's HD TV channel, I was able to find and watch a pristine version of 1972's Man of the East.

On his father's dying wish, Thomas Moore (Hill), an Englishman from Boston, travels west to visit land owned by his father. Thomas is a gentleman who rides bicycles rather than a horse, recites poetry, and plays the violin. In other words, he isn't exactly cut out for the wilds of the wild west. En route, his stagecoach is robbed by three bandits, but he manages to hide his money and make it to his father's cabin unscathed. Who's waiting? The bandits, Bull (Gregory Walcott), Monkey (Dominic Barto), and Holdy Joe (Harry Carey Jr.), are there too, but he doesn't realize who they are. There's a catch. The trio used to be in Tom's father's gang, and in his dying wish, asks the trio to look after his son and teach him how to be a man who can survive in the west. They've got their work cut out for them, especially when Tom shows interest in Candida (Yanti Somer), the daughter of the local powerful rancher.

Stars like Clint Eastwood, Franco Nero and Lee Van Cleef helped make spaghetti western heroes into a tough guy category of their own. Then there's Terence Hill (real name Mario Girotti), a spaghetti western star who typically starred in somewhat lighter toned films. The Trinity movies aren't full-on spoofs, but they're not as dark as most other genre entries. Hill is perfect as a believable hero who's very capable but a little goofy too. It isn't always that ultra-sinister, anti-hero gunslinger. Hill was an incredible physical presence, handling most of his own stunts -- riding, fighting -- but also selling the humor without overdoing it. An out of place easterner, his morning stretching routine is sublimely perfect, the three bandits looking on in amazed confusion. Watch it HERE. As an actor, Hill has an easygoing charm that makes him incredibly likable whenever he's on-screen. It seems like a little thing, but it goes a long way.

I recorded this spaghetti western not knowing exactly what to expect, but it's difficult to find so I had to jump at the chance. I wasn't expecting Three Men and an Easterner (that's a Three Men and a Baby reference for those who are confused). It's even got some touches of 3 Godfathers, starring John Wayne, Pedro Armendariz and Carey Jr (also starring here). What's more surprising? How effective the story is. Walcott's Bull is the bullish, freakishly strong one, Barto's Monkey the fast-talking, goofy fast draw, and Carey Jr.'s Holy Joe the bible-thumping preacher who condemns drinking, smoking, gambling and visiting hookers...while doing all of those things. Extremely close with Tom's father dating back to their Army days, the trio takes a genuine interest in his son, doing their best to make sure he doesn't get himself shot up. I loved the dynamic among the group, the three rough and ready bandits hovering around like guardian angels. Funny, surprising in its effectiveness in the drama department, it came as a pleasant surprise.

Playing the love interest searching for her own one and only true love, Somer is solid as Candida, the young women who falls for Thomas as he recites poetry to her on a train trip. Her father, Frank Olsen (Enzo Fiermonte), worries for his daughter's well-being and wants her to have nothing to do with the somewhat doofy Thomas. Riccardo Pizzuti plays Morton, Olsen's right hand man and chief henchman who is Thomas' main rival when it comes to young Candida.

It's been years since I've watched the Trinity movies, but I typically avoid comedic spaghetti westerns whenever possible. This one from director Barboni goes a long way to helping turn my opinion. It's funny, very funny. The laughs aren't always the obvious, stupid, spoof-life ones, but genuine ones that come from good dialogue and acting (Crazy, isn't it?). There's some sight gags, especially Bull cradling a little furball of a dog wherever he goes, or the bandit trio demanding a crowd of on-lookers freeze in place, the crowd obliging mid-stride. There's the previously mentioned morning stretch routine, but my favorite was probably Thomas' insistence on riding a bicycle instead of a horse. The visual of him pedaling into town with the mounted trio behind him is priceless. One other running bit really delivers nicely too. A bounty hunter duo (Salvatore Borghese and Bernard Farber) keeps getting closer to capturing Bull, but the immense bandit keeps tripping them up. The immaculately dressed bounty hunters are almost identical in appearance, duded up with long black jackets and vests. They even move alike, producing some truly funny moments.

I didn't love everything here in this comedic spaghetti western. I didn't love the budding romance between Thomas and Candida, their relationship slowing things down. At 125 minutes, 'East' is also a tad bit long in the tooth, meandering along the way at different times. Mostly though, I liked it a lot. It was filmed on location in Plitvice Lakes National Park in Yugoslavia, a refreshing -- and beautiful -- change of pace from the typical sun-scored deserts. I liked the musical score from the De Angelis brothers too, a mix of lighter and more serious tunes. There isn't much in the way of gunplay, but a big, brawling barroom fight packs a serious punch (did you catch my pun there?). A very pleasant surprise, I liked this one a lot.

Man of the East (1972): *** 1/2 /****