Hate Is My God review
From The Spaghetti Western Database
Revision as of 02:21, 6 February 2019 by Kjell
L'odio è il mio Dio Emilio Giordana (as Claudio Gora) 1969
Bizarre, delirious and totally insane this film is labelled. And a strange spaghetti western it is. But make no mistake about it; it is not some disjointed film with lots of plot wholes and story inconsistencies. It is well-written, stylishly directed and carefully edited. The action scenes are ample and well handled, even the body count adds up neatly.
We are in a small Colorado town, Big Springs, 1973. A hanging is about to take place. Inside a prison cell an allegedly insane man is put into strait jacket and dealt a double blow to the temples that leaves him still unconscious when hanged later in the day.
Meanwhile, the town’s most prominent men are waiting nervously at the banker’s office, the Judge, Field, a land owner, and the banker himself: Carter. The editor of the town’s newspaper is also there. We hear the prisoner’s transport take off outside. The editor hurries back to his office. A handwritten note on his desk reads: “Today, at 1:00 pm, Stephen Kearny, the murderer of the court assistant, was hanged on the scene of his crime. In madness, his last words were:” The rest is struck out. The note is for the front page of today’s newspaper. When the editor starts the press, the hanging has still not taken place.
There are suggestions of corruption: Is Kearny framed for a killing he didn’t commit so that Field can take over Kearny’s land? The is witnessed by Kearny’s kid brother, Vincent. When alone, Vincent eases his brother’s lifeless body to the ground, then he is driven off by vultures already gathering, plucking at the boy’s hands.
Years later Vincent is back in Big Springs as a young man seeking revenge. Kearny’s farm is now Field’s place of residence, the old house replaced by a manor. The tree Kearny was hanged from is still there. Big Springs is all set for an anniversary. Also, the town’s triumvirate is all set for Vincent’s return. Vincent is met by a welcome committee under instruction to scare him off or kill him. At the same time a black-clad stranger arrives in Big Springs: Il Nero.
From the moment they arrive neither Vincent nor Il Nero speak a word. Do they know each other? Their first meet, in the hotel’s saloon, seems accidental, the second, at the farm, seems not. Both times Il Nero intervenes to save Vincent from being shot. So, Il Nero is Vincent’s guardian angel? Or, does Il Nero have reasons of his own to be in Big Springs?
A scene where Vincent meets with a saloon girl, Blanche, is left out completely in the German version. She tells Vincent she knew his brother professionally, that he did the killing he was hanged for; but he was no murderer. He stood up against Carter and his consorts, for that they branded him insane, to silence him, he was forced to kill, convicted and hanged. By now the reek of corruption hangs over Big Springs like the fly ribbon from the ceiling of Carter’s office.
Vincent kills the Judge and Field, and Carter realises he is next. He sends for an old associate, Sweetly, a killer, to take care of Vincent and Il Nero both. Sweetly has no idea Il Nero is one of the men he is paid to kill, until he meets him face to face on Big Springs’ deserted main street, then recognize him instantly. They have met before in a violent past under other names, and they have scores to settle with one another.
The film’s music is written by a young Pippo Franco, later to become an established Italian comedian. It is far from your usual spaghetti western score; some of it more like circus music, some as if made for a silent movie. Franco also appears in the film as a half-wit guitar playing minstrel. The song Americana, a sarcastic comment on the ongoings, is also left out in the German version.
Gora’s son Carlo Giordana is Vincent as a young man. There is an almost hideous likeness to Vincent as a boy(1). Blanche is played by Gora’s wife Marina Berti. We have another outing by Venantino Venantini (Billy Kane in Bandidos) as Sweetly, and by Halina Zalewska (Eden in The Bounty Killer) as Rosalind Field.
You might think that Carlo is not well cast as the young revenger, and perhaps you would have preferred his younger brother Andrea for the part. Or you might feel the score does not serve the film well, even creates distance to it. Or the strangeness of it all might put you off. Nonetheless, I think the film as it turned out is more or less exactly the film Gori wanted to make, and for me, nothing less than an outstanding contribution to the filone.
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