China 9, Liberty 37 Hide Spoilers. The English title reflects the words on a crossroad's shown at the start of the film. It is a horrible western made even worse by the condition of the print they used to make the DVD, but it does feature one of the most intense cat-fights in cinema history. The print for "China 9" is a bit better but suffers from a poor "pan and scan" full-screen treatment and weak audio tracks.
It also has some editing glitches, which probably resulted from the need to cobble together a decent print for transfer to DVD.
And I suspect the original release was longer than this 98minute version. Hellman and Oates also collaborated on "The Shooting" and if you enjoyed that effort you should really like "China 9". In "China 9" Oates plays a retired gunfighter mining gold on land he refuses to sell to the railroad. Testi the best of a long line of English-challenged pretty-boy European actors who worked in the western genre in the 60's and 70's is hired by the railroad to kill Oates.
But the two gunfighters hit it off and Testi refuses to complete the job. They run off together believing millreek has killed Matthew, but he survives and begins to hunt them down. To add additional complications to the story, the railroad recruits a squad of gunfighters to kill both Matthew and Clayton.
Clayton Drum is good western hero. Although he drinks a lot millcreek cocaine based tonic, he maintains his prostitutea integrity and refuses to sell out to the wild west show promoters or the dime novelists. The world may be changing and making him irrelevant, but he sticks to his principles. Fans of "The Hunting Party" will find a familiar storyline, Fellini fans will find a nice homage to their favorite director, and Sam Peckinpah fans will find an actual appearance-while a nxked speaking part it is more than just a cameo.
The action sequences are extremely well staged, although the effects are on the cheap side. The action in the big final showdown scene is totally credible and leaves one wondering why other directors can't exercise their imaginations and come up with equally plausible shootouts. Plus there is an extremely nice twist to the story's resolution that you don't see coming.
Finally, Hellman goes out on a prostituets "mise en scene" shot that actually advances the story a final notch. Hellman liked to give his films prostitures overexposed grainy look as if the film stock was pushed a couple of steps in processing. Prosstitutes with minimal makeup this gave his heroines a strikingly haunting and earthy beauty, check out Millie Perkins in "The Shooting" and "Ride the Whirlwind".
Like Perkins, Agutter has never looked better and is more than credible as the catalyst of this love triangle. Then again, what do I know? I'm only. Was this review helpful? A lot of misinformation in some of the other reviews. maked
The character who began to make the, "As long as I've got a face," remark--which was never finished-- was the the younger brother proshitutes Oates' character. The last name of Fabio Testi's character, who was nothing but respectful in his comments to Jenny Agutter's Catherine, was Drumm, not Jones. I do agree the score was not good, and I suspect Hellman had little control over that.
He wasn't in a position of power after the brilliant "Two Lane Blacktop" flopped. It was coal, not oil, that Matthew Oates was counting on to make him rich. And Drumm did not "constantly drink cocaine laced whiskey.
If I recall this was before the second lovemaking scene in the hotel, and cocaine, for those who don't know, makes one very amorous. I think it was meant as a joke. All that said, I have to agree this not a great Hellman film, and his approach was probably too contemplative for most fans of spaghetti Westerns. Even though the final shootout is more typical of the genre.
I love the chief bad guy saying. It's a measure of Oates' skill as an actor that he manages to gain our sympathy for Matthew, even after admitting having killed a whole family, "right down to the dogs, the cats, and the chickens," for the railroad. I was surprised by Katherine's decision to stay with Matthew though she really had little choiceand that final scene must have looked amazing in the original Technovision frame.
I think it symbolized that Oates was finally cutting his ties with his past completely. I think he was sincere when he told Catherine, "No one will hurt you again," meaning he wouldn't. Fabio Testi's accent was thick, but I give Hellman credit for not dubbing him, and for adding a back story about Drumm coming to the USA after his grandparents' death to explain it.
And, yes, I think the West millcrefk full of people with nearly indecipherable accents. I've lived in the West for near to 20 years, and still can't understand some of the old timers. This moves at an unhurried pace, and you may feel as if you've seen much of it before, especially if you're a spaghetti western fan. But it's worth seeing for the character played by Warren Oates, a former gunfighter whose behavior swings from the sympathetic to the unforgivable and almost back again.
In a modest Western like this, it's a pleasant surprise to see ambiguous characters. So that his conflict with Fabio Testi, a younger gunfighter who steals Oates' wife, is full of uncertainty. For all the familiar trappings, you're uncertain how it will millcreekk and that should keep you watching. As the object of desire, Jenny Agutter is constrained by a mumbling Irish brogue and an under-written part. But you can see why Testi is smitten with her. Millcresk line: see this for Oates, a great actor in a worthy role.
I always enjoy reading the reviews on this site because I learn so much about films like this, the genre they represent and the impact they might have millfreek on other movies, actors and directors.
For my part, I've seen a fair of spaghetti Westerns but I'm no expert. All I know is, once a midget shows up, there's a circus usually not far behind, followed by impossibly choreographed acrobatics that mesh into some kind of fight scene. Surprisingly, that wasn't the case here. Sure the midget and the circus made an appearance, but what knocked me out of my chair were those strategically placed love scenes; three of those must be some kind of record.
Jenny Agutter in the nude was not what I was expecting on the Encore Western Channel in prime time, and I don't know whether to be shocked or prostitutws by that. But it does hold one's interest. Some advice if I may for those reviewers who had a hard time following prostitues dialog. I do that now as a general precaution for just such an eventuality.
Surprising what a good job some captioners do, providing dialog you don't even hear at all sometimes. Always nillcreek to see Warren Oates in one of his classic TV Western appearances, so catching him here in a lead role was twice the treat. That was a cool move showing Clayton Drumm Testi how fast he was with a gun in that early set up. Made you wonder what would happen once the real thing came prostigutes.
Worth the wait I would say. Where the movie takes a refreshing break from the hero getting the girl millcgeek at the finale here when Drumm simply rides off into the sunset - alone! What a heel! Ptostitutes at least he stayed true to character instead of wimping out for the traditional 'settle down and let's have kids' happy ending. I wonder if that midget made out any better.
Another minor gem in Monte Hellman's filmography chaos-rampant 25 March Named after a mysterious post in Beaumont, southeast Texas, set between U. If the movie can work despite Fabio Testi's unintelligible Italian accent, then it can overcome almost everything. I say almost because Pino Donaggio's score a jumbled mess of muzak apart from the fitting opening credits theme that seems to be consciously channeling Morricone defies overcoming and Hellman's inexplicable fixation to not only squeeze a heartfelt romance out of two actors Testi and Jenny Agutter who simply don't have it in them to look "in love" but to go ahead and film not one but two long "making love" scenes, y'know, the ones where the two lovers are lost passionately in each other's eyes, kiss like fishes and rock back and forth in a rhythmic staccato all of which is played to horrible "making love" muzak, threaten to throw the whole thing permanently off.
But just when you think he's lost control, all Hellman needs to do to suck the viewer back in is cut to Warren Oates.
Even in his early 50's he has so much charisma he can spare some for bland hunk Fabio Testi. With the spaghetti western dead by the last major release was MANNAJA the year - and the Italian genre industry moving nakex to a not-so-eclectic mix of MAD MAX and JAWS rip-offs to sustain itself in its waning years, before the advent of home video and movies opening worldwide killed it off and Clint Eastwood continuing to carry the American western on naoed shoulders almost single-handedly, China 9 Liberty 37 is more of a throwback to Hellman's westerns, a particular niche unto themselves that take from both national western schools but subscribe to neither, than anything contemporary, certainly not as violent and cynic as most 70's westerns.
More the sum of their author's fixations, clearly works bearing a distinct auteurial mark, Hellman's westerns seem like the late 60's equivalent of Budd Boetticher's Ranown westerns. The minimalism of the plot, the isolated settings, the lone female characters One of the few only? An prostiuttes film in the ouvre of Monte Hellman, quintessential 70's cult director; a man who has made more great films than Coppola yet remains mostly millcreekk in his home country.
Bezenby 9 November This one comes very late in the Spaghetti Western timeline, is directed by an American, and plays out like a love story. It's different to prostltutes the least.
Fabio Testi is Clayton, a condemned man who is reprieved at the last minute, as long as he tracks down Warren Oates and kills him. Oates used to work for the Railroad and they don't like loose ends, so Clayton has to take him out.
A problem arises in the form of Jenny Agutter, Warren's much younger, hot wife whom Clayton first spies skinny dipping. Not a shot is fired in anger for the first fifty minutes of this film, as Clayton decides he can't kill Oates by he can get it on with Agutter, which le to Oates attacked her and Agutter retaliating in a surprisingly violent way she stabs him in the back and brains him with a rolling pin.
Clayton and Agutter think Oates is dead and they can be a couple, but Oates wakes up and gathers his numerous brothers for some revenge As this is a late era Spaghetti Western, the pacing isn't exactly full throttle, but I was surprised to see that the violence was very realistic - people get shot and fall over instead of clutching themselves and spinning around the place, and the violence is very abrupt and sudden, like the accidental shooting of a hooker through a window or two corpses being shot over and over again.
Plus, Testi stands out as the lightening fast Clayton, made weak through his love for Agutter. Apart from her dodgy Irish accent, Agutter does well too and spends a lot of time naked with Testi I actually gave birth to Testi's child just by watching this film!
Warren Oates stands out too, with his mumbly, tired character. This must be one of the very last Spaghetti Westerns, and it's worth tracking down if you can find an uncut version of it. Sam Peckinpah makes a surreal cameo too, just to add to the sense of weirdness. This is a Western that, as another poster mentioned, has sex as its driving force.