Seeing Death Rides a Horse on 35mm has proven to be a lesson in the sacred and the profane. Would seem to reflect poorly on you were you to seek to hold it up as some gilded work of high art. Yet I am prepared to do something close to that. That it is shot and cut masterfully should be clear. There is a moment, when John Phillip Law is burried in the dirt up to his head, that it even struck me as something more.
Entretenido spaghetti sobre cómplices temporales a propósito de una venganza a fin. Además de su historia, aquí los vengadores son lo mejor del filme. Lástima que no suceda lo mismo con los enemigos, quienes a pesar de ser varios, no poseen el suficiente atractivo. Cada encuentro (que se torna emocionante) termina con un sabor a decepción. Estos caen cual peones, dignos de sobrevaloración.
Despite many clunky, meandering scenes (approximately 75% of the movie), there are many moments at the beginning and a few later on (like the one highlighted in the accompanying image) when Morricone's mastery and Lee Van Cleef's presence epitomize macho, badass cool.
Routine Spaghetti Western. Roger Ebert's 1969 review includes this canny observation: "Van Cleef's face, in closeup, has the lean, hardened, embittered expression of a man who has either (a) been pursuing his lonely vengeance across the plains of the West for 30 years, or (b) realizes he will be making spaghetti Westerns the rest of his life."
Superior spaghetti western from director Giulio Petroni features another iconic performance from B-movie star Lee Van Cleef. Stylishly shot with a compelling story and another great western score by Ennio Morricone. Not any kind of masterpiece, but great entertainment for spaghetti western fans.