Horror and Sci-Fi films old and new, weirdo trash, arthouse, forgotten gems, well loved classics, and I'm watching the original Dr Who from the beginning.
Monday, 15 July 2019
Duck You Sucker (1971)
In Revolution-era Mexico, Juan (Rod Steiger) is a bandit with dreams of knocking over the country's biggest bank. When he meets wanted IRA terrorist John (James Coburn), Juan blackmails the Irishman into helping him. But the bank is as empty of money as it is full of political prisoners. After freeing them, Juan finds himself hailed as a revolutionary hero, but that means betrayal and tragedy are around the corner.
Director Sergio Leone kick-started the Spaghetti Western Genre with his ground-breaking 1964 film A Fistful of Dollars, and expanded on the template of amoral heroes, violent gun-play and eerie sun-baked apocalyptic atmosphere with For a Few Dollars More, The Good The Bad and The Ugly, and Once upon a Time in the West.
But, Duck You Sucker (aka A Fistful of Dynamite) feels like a step backwards, lacking some of the elements that made the other films work, particularly Clint Eastwood's Man with No Name character. In the Dollars Trilogy he's a tight lipped stoical man, who sets a tone of ambiguity and understatement. This provides a much needed contrast to the more outre characters. Here, Steiger and Coburn go for the thick cartoon brand of Mexican and Irish accents which soon become grating. Luckily, their natural presence and charisma stop the characters from being unwatchable. Also, the script is heavy handed with too much talk and exposition, while the soft focus flashbacks to John's back story become ludicrous.
Aside from occasional casual misogyny, Duck You Sucker has some more positive, familiar Sergio Leone traits. The Ennio Morricone soundtrack is as quirky, bombastic and haunting as his earlier work with the director. The action sequences, particularly the raid on the bank by Juan and his gang are brilliantly executed. The massacre of a large group of peasants by Mexican government troops is disturbing, and makes a contrast from the dismissive attitude to death often seen in this genre.
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