From The Spaghetti Western Database
- Runtime: 101 min
- Release Date: 1966
Also known as
Django Does Not Forgive (U.S.A.) | Django non perdona (Italy) | Django ne pardonne pas (France) | Mountains (Germany) | El honor de la policia montada (Spain) | Django Volta Para Matar (Brazil)
Cast and crew
- Cast: Hugo Blanco [as John Clark](Peter Lembrock / Django), Susana Campos [as Evelin Therens](Helen Patterson), Gustavo Rojo (Corporal Lex), Luis Prendes (Captain Dickinson), Carlos Casaravilla (Bunny, peddler), Armando Calvo (Lecomte), Alfonso Rojas (Sergeant O'Neil), Ricardo Canales (Renoir), Ángel Ortiz (Brandon, Lex's platoon), Luis Marín (Tallow, guide), Milo Quesada (Lieutenant), Luis Induni (Bordeaux, Lecomte henchman), Alfonso de la Vega (Mountie, Lex's platoon), Santiago Rivero (Indian agent), Gonzalo Esquiroz (Private Nichols), Juan Cortés (Delaney, Indian agent), Rufino Inglés (Patterson), Rafael Romero (Chief Big Bear), Ángel Menéndez (General Strange), Miguel de la Riva (Private Ray), Saturno Cerra (Sergeant Wesley), Fernando Sánchez Polack (Louis Riel), Frank Braña (Lecomte henchman escorting Renoir), Antonio Moreno (fort barman), Ricardo G. Lilló (Scottish officer), Rafael Vaquero, Alfredo Santacruz (artillery officer), Juan de Haro (flag bearer), Rafael Ibáñez, Fernando Bilbao (fort corporal), Denis Heaton, Marcelino Pérez, Antonio Orengo (Blanc), Nuria Torray (Paulette Renoir)
- Also with: Manuel Miranda
- Story: Bautista Lacasa
- Screenplay: Julio Buchs, Jose Luis Martinez Molla
- Cinematography: Francisco Sánchez Munoz [Eastmancolor - Totalscope 2,35:1]
- Music: Antonio Pérez Olea
- Producer: José Frade, Luis Méndez
A halfbreed seeks revenge for the death of his sister, who kills herself after being raped by an officer of the Canadian Mounted Police. He gets involved in the historical revolt of halfbreeds and Indians led by Louis Riel in 1885 against the Canadian government.
Unusual European western about racial conflicts. Quite different from a SW, this comparatively lavishly produced film is more interested in its story than in stylistic extravaganza. Mestizo is worth a look, but is far from being as impressive as Julio Buchs' later A Bullet for Sandoval.
The redubbing into a Django film for several international versions does not make any sense and is rather misleading. It only shows how arbitrary and thoughtless the Django term was used.