The Complete Sartana Blu-ray review | Cine Outsider
The Complete Sartana collects all five films, presented here in brand-new restorations: If You Meet Sartana Pray for Your Death, I Am Sartana, Your Angel of. Amazon Global Store, Apps & Games, Audible Audiobooks, Automotive .. Pray for Your Death, I Am Sartana, Your Angel of Death, Have a Good Funeral My Friend. Newly translated English subtitles for the Italian soundtrack; Optional English Joyner and Henry Parke; Gianfranco Parolini on If You Meet Sartana. Get the If You Meet Sartana Pray for Your Death at Microsoft Store and compare products with the latest customer reviews and ratings. Download or order for.
From the hostages and a bartender at the local saloon, who seem to be the only inhabitants of the town, Sartana discovers that the miners in the area, most of whom reside in a town called Appaloosa, are being robbed and exploited.
Sartana rides to Appaloosa and finds that the town is run by Spencer Piero Lullithe head of the mining company, his henchman Baxter Carlo Gaddiand the hotel owner, Trixie Erika Blanc. Sartana approaches Spencer and offers to transport the gold to Dodge City.
Meanwhile, Sabata Charles Southwood arrives in the town and strikes up an allegiance with Spencer. Sartana and Sabata make vocal their dislike for one another. However, it seems that Sartana has similar ideas and is much more shrewd than Spencer in his ability to play one side off the other. Sartana arrives on the scene too late to save Benson and the others, but he kills the assailants. Sartana rides into the nearby town of Indian Creek, discovering that it is torn between two factions: Sartana attempts to smoke out the culprits behind the massacre by paying for a lavish funeral for the men he killed.
Light the Fuse Sartana is Coming Una nuvola di polvere The townsfolk look on from inside their homes as the sheriff and his deputies kill the judge. Their attention is diverted by the arrival of Sartana, who they assume by his austere appearance to be a priest.
Sartana shoots and kills the corrupt lawmen, carting their bodies to the Everglades Penitentiary and turning himself in. Everglades Penitentiary is a place of cruelty, where inmates are kept in cages in the ground and tortured in the intense heat and by the guards, who urinate upon them and splash them with acid.
Sartana has placed himself in Everglades Penitentiary with the intention of breaking Grand Full, a former ally, out of the prison; this is an aim that Sartana achieved through sheer ingenuity and with the help of a concealed blowdart. The deal went south, Joe and Johnson were killed, and the money and gold disappeared. Sartana enlists the help of a magician, Plon Plon Franco Pesceand a clockwork Native American doll named Alfie which functions as a cigar lighter-cum-dynamite thrower-cum-remote gun.
In his attempt to solve the mystery and find the loot, Sartana forges various temporary and fragile alliances, including with a federal agent named Sam Puttnam Bruno Corazzari. The first Sartana picture outlined the character of Sartana as a dapper and resourceful bounty hunter whose motives are ultimately ambiguous. Why, exactly, does Sartana mysteriously appear in town and take on the various factions warring over the gold?
Sartana is also a trickster figure: As the films progress, Sartana also becomes surrounded with an increasing array of James Bond-esque gadgets: Throughout the series of films, women proposition him, but Sartana either turns them down or accepts their proposition simply in order to trap his enemies. Have a Good Funeral also references the then-popularity of martial arts films, via the presence of Lee Tse Tung and a climactic fight between Tung and Sartana.
Like those later films, the violence in the Sartana pictures is quite graphic: In the first film, his ally is the cackling elderly undertaker, Dusty Franco Pesce. These characters function as comic foils for Sartana. Video All of the films are presented in p, using the AVC codec, and each film is housed on a separate Blu-ray disc. The film runs for If You Meet Sartana is presented in the 1.
Contrast levels are very good, with richly-defined midtones tapering off into deep black. The presentation retains the structure of 35mm film, carried by a solid encode to disc. The gold is quickly established as a prize that just about everyone is trying to get their hands on, and none of them has any scruples about killing anyone who tries to stop them. I've seen it speculated that Sartana may not be a bandit but an insurance agent sent to investigate the fraud and recover the gold, but if that's the case then the American West was definitely not a place to be caught trying to pull an insurance scam.
And given that this sub-genre is built on the twin motivators of revenge and lust for riches, it seems unlikely that a man such as Sartana would have such pure motives, however extreme his methods might be. There are borrowings aplenty from Sergio Leone's Dollars trilogy, particularly For a Few Dollars More, a kinship emphasised by the presence of Klaus Kinski as sharpshooting gang leader Morgan, the use of scope-framed close-ups of eyes at tense moments, the use of a musical watch to unsettle an opponent, and a climactic gunfight that cannot begin until signalled to do so by an improvised timer.
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And I doubt it's a coincidence that the nearest Sartana comes to a sidekick here is a craggy old undertaker with a penchant for cackling, which plays like a nod to A Fistful of Dollars. Being my first encounter with the Sartana series, it took me a while to really warm to the man, and having accepted him as a taciturn gunslinger in the opening scenes, I was a thrown a little when he visits a saloon and a more approachable side to his personality emerges, as he flashes his James Franciscus smile at the ladies and wins and card games seemingly just for the fun of doing so.
When he's foolishly challenged outside by the losers, however, his former persona returns to the fore in a heartbeat. What really hooked me was his ability to outthink his opponents and predict their moves, a skill amusingly showcased when he follows a saloon girl to her room then insists on tying a rope to the back of a rocking chair for what at first looks like the preparations for an unspecified sex game but… no, I'll let you discover the purpose of that one for yourself.
If you Meet Sartana… Pray for Your Death is a seductive and hugely entertaining introduction to the title character. It's solidly directed by Gianfranco Parolini, whose blocking within the 1. It's not that funny, guys. In common with the other four films in this collection, the dialogue has all been post-dubbed in both English and Italian, and both soundtracks have been supplied for each film, plus optional English subtitles for the Italian track.
On this film the majority of the dialogue appears to have been spoken in English on set, and as a result it's the English language track that most closely matches the mouths of the actors. That said, the voice of the actor dubbing Klaus Kinski differs so dramatically from Kinski's actual voice that I actually let out a small yelp when he started speaking. I am Sartana, Your Angel of Death Having rather warmed to Sartana as a ruthless and avaricious anti-hero in the manner of Clint Eastwood's Man With No Name in the first film, it was initially a tad disarming to have him presented in the second film as a man trying to clear his name after he is wrongly identified as a murderous bank robber.
Of course, being Sartana this tends to involve confronting people and dispatching them in sometimes creative fashion, but there's no doubt that he is being presented as the good guy here.
He even has a roguish sidekick in the shape of Buddy Ben played by Corman graduate Frank Wolffa scruffy old comrade who's happy to come along for the ride and whose shooting skills are good enough for him to provide the necessary backup when required.
It all kicks off when a bank is robbed and its staff is slaughtered by a gang led by Sartana, except we all know it's not actually Sartana because the voice is all wrong and we never see his face. Everyone's out to get him, including a gambler and sharpshooting gunslinger named Hot Dead, with whom Sartana seems to have a bit of a history. As seemingly everyone and his mother sets out to claim the bounty, Sartana embarks on a quest to prove his innocence and track down his mysterious impersonator.
Right from the off, I Am Sartana, Your Angel of Death feels even more energised than its predecessor, notably in the almost Wild Bunch-like wind-up to the opening robbery, and in director Giuliano Carnimeo's fondness for tumbling the camera when someone is shot as if it's connected to them and is pulled over as they fall. Casting Sartana as a victim on a righteous quest also helps to further humanise him, which is doubtless aided by Gianni Garko's increased familiarity with a role that he was effectively road-testing in the first film.
It's certainly easier to root for him here, particularly with odds are stacked so heavily against him, which allows us to sit back and enjoy the inventive methods he employs to get himself out of trouble. Thus, when he allows himself to be placed under arrest, you just know he's got a trick or two up his sleeve to break free later, and if he's trapped behind a wagon by a gang of armed men then don't fret, because he can rig up a trap with the dynamite he's been concealing in his pocket all along.
My favourite piece of trickery has him seemingly cornered in a barbershop by a bounty hunter, whom he fools by disguising himself as a hat stand.
I know that sounds odd, but it really works. Klaus Kinski returns from the dead in the new role of white-dressed gunslinger Hot Dead, an entertaining creation who, despite being even more fond of gambling than Sartana, is just dreadful at it and never wins a game.
At one point he catches his opponent cheating, and instead of shooting him in the favoured western manner, he neuters the man's advantage and continues with the game. But Hot Dead is also a perfect example of the problem of post-dubbing. Quite apart from the fact that we all know how Klaus Kinski actually sounds, there's a stark and character-changing difference between the Italian and English dubs of this character.
On the Italian track, he's as gruff as any Italian western villain, but on the English language track he's probably the campest cowboy in the west, which did leave me wondering how Kinski actually played him. In the end, it does the film no harm and if anything makes Hot Dead more colourful in his English language incarnation, and adds another layer of interest to a film that rivals Have a Good Funeral My Friend… Sartana Will Pay as the best of the Sartana films.
Even the opening titles have a touch of class here, a specially filmed sequence that subtly underlines the notion proposed on the commentary track that Sartana is in some ways a western James Bond. Trade Your Pistol for a Coffin The first thing that hits you about the third film in the Sartana series is that Sartana himself is not the man he once was.
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That's not meant as a slight on his manhood or singular skills, but a first reaction to the fact that this is the first and only film in the quintet in which Sartana is played by George Hilton rather than Gianni Garko. The adjustment required is not as jarring as expected the Bond switch from Connery to Lazenby this is notbut for the first ten minutes or so I couldn't shake off the sense that I was watching someone imitate a character I'd got to know and rather like over the course of two films, a process I now had to restart with this imposter.
It didn't take long. Despite a language switch more on that in a minuteI quickly forgot about this change of identity and settled back to enjoy more of the exploits of this likeable rogue, a term I use in part because I'm not sure how else to describe what Sartana has developed into by this point.
He still dresses and behaves like a mysterious stranger, but everyone knows his name and despite his high kill ratio, he seems to be settling on the side of good, or at least what constitutes good in this lawless version of the American West.
It all kicks off here when a covered wagon is ambushed by Mexican bandits, who then depart without spoils and attempt to blow it up with dynamite. The fuse, however, is creatively extinguished by a secretly watching Sartana, who hauls one of the bodies of the murdered men onto his horse and takes it back to town to collect a bounty, where he gets a tip that takes him to a small outpost where the Mexican gang have set up home base.
When Sartana rolls up, their leader Mantas Nello Pazzafini is out of town, and when the child of a woman the gang is keeping prisoner runs out and begs Sartana to free his mother, it's only a matter of time before the outpost is swept clean of bandidos. By this point I'd fully engaged with Hilton as the replacement Sartana, but still didn't have a clue where the story was going or even what it was.
It soon becomes clear, however, that there's a shipment of gold that everybody wants to get their hands on, one that its foolishly trusting owner is willing to hire Sartana to protect. But wait, there's another gunslinger in town who might be better for the job, a white-dressed, straw hat-wearing, sharp-shooting dandy who carries a ladies' parasol to shield himself from the sun and who is so good a card player that he even beats Sartana. Hang on a second, Sabata?
The Sabata who has his own film the previous year, where he was played by genre icon Lee Van Cleef?
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It certainly looks that way. There is, I gather, no direct relation between the two films — here the character of Sabata played by American actor Charles Southwood was simply brought in to provide Sartana with an equally skilled foil whose reputation was equal to his own. For the sake of character clarity, he's undergone a a bit of an identity change — Van Cleef's Sabata shared Sartana's all-black wardrobe, and the decision to kit him out in white here was presumably made to make it easy to tell him and Sartana apart from any distance.
He also favoured an unusual multi-chamber Derringer, which was probably seen as a little too similar to Sartana's weapon of choice, so here he wields a sawn-off Winchester rifle, with which he can shoot the antenna off an ant at a hundred paces. As the final act unfolds, you'll probably need a notebook, a pen and a calculator to work out and keep track of who is double-crossing who, but it builds to a splendid climactic stand-off between Sartana and Sabata and a neat twist that delivers a surprisingly upbeat ending, albeit one that mirrors that of the preceding film.
Director Giuliano Carnimeo drops his trick of having the camera tumble with the victims of shootings, but still plays the odd experimental games with film form, notably when Sartana shoots three men in rapid succession and the screen divides to simultaneously show all three falling to their deaths. One thing that does seem to have changed for this Sartana outing is that the actors appear to have delivered their lines in primarily in Italian rather than the English of the two preceding films, and for the first time the Italian dub is a far better fit than the sub-par English one.
But for the most part, the switch to a different lead is a seamless one, and despite taking its sweet time to settle into a story of sorts, Sartana is Here Trade Your Pistol for a Coffin is a worthy and enjoyable entry into the series. Have a Good Funeral My Friend… Sartana Will Pay Gianni Garko is back for this fourth entry in the series, but he's undergone a bit of a style shift that has sheared him of his distinctive three-day dark beard and kitted him out instead with a thick blonde moustache that makes him look more like a handsome banker than a fearsome gunslinger.
And there's something about his countenance and delivery the clunky English dubbing really doesn't help here that suggests Garko wanted to rethink the character a little, perhaps to distance him a little further from Eastwood's Man with No Name, which was clearly a key influence on the character's original incarnation. He even has a brief romantic encounter with a girl he's looking to do business with, an aspect of his character there was no trace of in the previous films.
Featuring a cracking good score by Bruno Nicolai perhaps the series' best and a fast pace right from the slam-bang opening seconds, it's a strong entry filled with striking, spooky atmosphere and remains a favorite among many fans.
In film four, Light the Fuse Sartana Is Coming also known under the more evocative translation of its Italian title, Cloud of Dust Sartana Is Comingthings get really wacky with Sartana intentionally sending himself behind bars at a brutal, filthy desert prison to make contact with old buddy Grand Full Kill, Baby Giallo fans will also be happy to see a prominent role for Nieves Navarro, a. Stylized and often intentionally ridiculous with one of Bruno Nicolai's loudest, most aggressive scoresthis one will either delight or annoy those who have come this far as it veers in a wild variety of directions and sends Garko off on an undeniably memorable note.
The final official film though released earlier than some entries depending on the countryI Am Sartana Trade Your Guns for a Coffin, features George Hilton about to become perhaps the most notable giallo leading man of the decade taking over for Garko and once again becoming embroiled in a deadly skirmish involving a cache of gold.
This time his bounty hunting puts him in the path of a Mexican bandit attack involving a stagecoach and several fake bags of riches, which puts him on a trail that leads to a sexy, duplicitous saloon manager named Trixie Blanc.
Despite the popularity and pedigree of these films, they've been scattered around from different video labels around the world with a complete, comprehensive set seeming like a pipe dream until the limited Blu-ray set 2, units from Arrow Video in the U.
All of the films except for Pray for Your Death have been given fresh new 2K scans from the original camera negatives, with the one odd man out culled from "original film materials" instead presumably a print, but one in good shape albeit rougher and with more damage than the rest, accurately framed at 1.
The other four films look excellent apart from some necessary quality dipping during the optically printed main titleswith the detail so good you can clearly make out the eyeliner Hilton's wearing in his close-ups. Each film features both the Italian and English soundtracks with optional English translated or English SDH subtitles; the English tracks will probably be the favored ones since they generally match the lip movements better Garko seems to alternate between the two languages and evoke the period with a number of familiar voice artists popping up.
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The Italian tracks are worthwhile as well though as they're often more poetic and coherent at times with some narrative detail that tended to get lost in the occasionally simplified dub scripts; all are DTS-HD MA 1. Each film is given its own Blu-ray with a hefty slate of extras; the first feature sports an audio commentary by German documentarian Mike Siegel, who knows his stuff when it comes to westerns and ties this in to other Italian cinema as well including tons of information about Garko.
Jonathan Bygraves tackles the actors who pop up throughout the series in the fun video essay "Light the Fuse: