HOME |  JOIN |  CULT MOVIES | COMPETITIONS | ADVERTISE |  CONTACT US |  ABOUT US
 
 
Newest Reviews
You Were Never Really Here
Lovely But Deadly
Unsane
Smithereens
Last Warrior, The
Artemis 81
Rampage
Quiet Place, A
Braven
Changeover, The
Isle of Dogs
Funny Cow
Maze Runner: The Death Cure
Mad to Be Normal
Beast of Burden
Dead Men Walk
Game Night
Under the Tree
L'Amant Double
Gonin
Coco
Producers, The
Molly's Game
Forest of the Lost Souls, The
Hatchet III
Birdman of Alcatraz
Pacific Rim: Uprising
Wonderstruck
If It Ain't Stiff, It Ain't Worth a Fuck
Nun, The
   
 
Newest Articles
The Edie Levy: Edie Sedgwick, Andy Warhol and Ciao! Manhattan
The Ultimate Trip: The Original Psychedelic Movies
Players of Games: Willy Wonka, Tron and Ready Player One
What Am I Doing Hangin' 'Round? The Ends of The Monkees
Flings and Arrows: Conquest vs Flesh + Blood
Orson Around: F for Fake and The Late Great Planet Earth
ITC What You Did There: Retro-Action on Blu-ray
And It Was the Dirtiest Harry We Have Seen in a Very Long Time: The Dirty Harry Series
Manor On Movies: The Astounding She Monster
Manor On Movies: Don't be a dolt. That's not a cult (movie)
Wes Anderson's Big Daddies: Steve Zissou and Others
Bad Taste from Outer Space: Galaxy of Terror and Xtro
A Yen for the 1990s: Iron Monkey and Satan Returns
Hey, Punk: Jubilee and Rock 'n' Roll High School
Help! with The Knack: Richard Lester in 1965
   
 
  Django Kill! Buy this film here.
Year: 1967
Director: Giulio Questi
Stars: Tomas Milian, Marilù Tolo, Roberto Camardiel, Peiro Lulli, Milo Quesada, Paco Sans, Raymond Lovelock
Genre: Western, Weirdo
Rating:  9 (from 1 vote)
Review: The Spaghetti Western has spanned many different sub-genres since Sergio Leone defined its conventions with A Fistful of Dollars. From straight action (Django), to political (Bullet for the General) to comedy (They Call Me Trinity, Trinity is Still My Name) the Spaghetti has covered them them all. Where Django Kill stands alone, however, is the fact that it is the genre’s lone psychedelic, gothic, political, s&m western. To my mind one of the best movie’s of the Italian cycle of movies, Django Kill is so unique that it stands alone as one of the most daring films of the late 1960s.

On the surface a pretty traditional spaghetti western set-up, the film soon descends into a mixture of gothic horror and art movie. Tomas Milian plays the archetypal stranger, double crossed and left for dead by the villainous Oaks. Nursed back to health by two mysterious Indians who gift him a bag of golden bullets, he sets off to take revenge, ending up in a bizarre, backwards town known as “The Unhappy Place”. It is here that the tone of the film shifts dramatically, as Millian realises that the town and its inhabitants are crazed sexual deviants with a lust for sadomasochistic violence.

Giulio Questi, formally a politically motivated documentary maker creates a world transfixed by greed and violence; in one particularly shocking sequence a man shot with golden bullets is literally torn apart by the townsfolk, desperate to get their hands on the remains of the bullets. In another sequence a young boy (played with wide-eyed innocence by Ray Lovelock, later of Living Dead at the Manchester Morgue) is molested by a group of uniformed, black shirt wearing bandits (clearly a reference to the black shirts of Italy’s post war Fascist movement). It’s certainly strong stuff for its time, and compared to the (admittedly strong) violence in films such as Django goes a lot further than many of the other Italian westerns made around this period.

Combined with the bleak, graphic brutality on screen Questi and his co-writer and editor Franco Arcalli (who went on to edit Last Tango in Paris and Once Upon a Time in America) create a surreal atmosphere on screen using various editing techniques to create a dreamlike chaos to the proceedings. Frames are inserted upside down, in slow motion, and backwards so that the viewer barely has enough time to register exactly what they have witnessed. Certainly, these are techniques more common in the experimental films of Warhol or Kenneth Anger than in the Italian western.

Unfairly dismissed for many years, as another cheap Django rip-off (the film, in fact, has nothing to do with Django, it was simply an attempt by the distributor to cash in on Sergio Corbucci’s movie overseas), Django Kill has as much in common with the films of Luis Bunuel as it does those of Sergio Leone. As a western that offers so much more than the traditional good guys/ bad guys scenario, and as a radical piece of film-making that both stylistically and graphically pushes the boundaries, Django Kill is not only a hugely enjoyable movie, but an important film in its own right.

Aka: If You Live, Shoot!, Se Sei Vivo Spara
Reviewer:

 

This review has been viewed 10615 time(s).

As a member you could Rate this film

 

Giulio Questi  (1924 - )

Italian director who moved from film criticism to making political documentaries during the 1950s. Was an assistant on Fellini's La Dolce Vita before directing his two best known features in the late 60s, the unsettling western Django Kill! and the very strange giallo Death Laid an Egg. Worked mostly in Italian TV throughout the 70s and 80s.

 
Review Comments (0)


Untitled 1

Login
  Username:
 
  Password:
 
   
 
Forgotten your details? Enter email address in Username box and click Reminder. Your details will be emailed to you.
   

Latest Poll
Which film has the best theme song?
Spectre
The Ups and Downs of a Handyman
   
 
   

Recent Visitors
Graeme Clark
Arif Kabban
  Robert Segedy
Darren Jones
  Asma Amal
  Chris Lawrence
Enoch Sneed
George White
   

 

Last Updated: