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The Mercenary (1968)

  • Action Comedy Western War
  • While a Mexican revolutionary lies low as a U.S. rodeo clown, the cynical Polish mercenary who tutored the idealistic peasant tells how he and a dedicated female radical fought for the soul of the guerrilla general Paco, as Mexicans threw off repressive government and all-powerful landowners in the 1910s. Tracked by the vengeful Curly, Paco liberates villages, but is tempted by social banditry's treasures, which Kowalski revels in.



    A greedy Polish mercenary aids a mine worker and peasant girl as they lead a revolution against the oppressive Mexican Government| and are pursued by anAmerican rival.




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    You play by the rules you lose! Il mercenario (The Mercenary) is directed by Sergio Corbucci and Corbucci co-writes the screenplay with Luciano Vincenzoni, Sergio Spina and Adriano Bolzoni. It stars Franco Nero, Tony Musante, Jacl Palance and Giovanna Ralli. Music is by Ennio Morricone and Bruno Nicolai, with cinematography by Alejandro Ulloa. It's the Mexican Revolution and Sergei "Polack" Kowalski (Nero) is a gun for hire. Hired by revolutionary Paco Roman (Musante), Kowalski muses on all the scrapes they got into before bringing the story to a present day resolution... A Technicolor/Techniscope production, Corbucci's Zapata Western is a barnstormer full of political bents, wry humour and searing action. With beautiful Spanish vistas prominent and a musical score that's like a spicy jumping bean, story holds court from beginning to end. Essentially at it's heart it's a buddy buddy piece, though these buddies are hardly what you would call rock solid. Into the mix comes the gorgeous Ralli to add the sauce, whilst as Paco and Kowalski take on the Government and its Army, they also have to contend with Curly (Palance), a camp sadistic dandy with revenge on his mind. Corbucci has a great eye for action, there's reams of gun fire, with machine guns, artillery and even a plane laying waste to bone and buildings, and usually the cruelty and carnage on show is done with a glint in the eye (milk and dice drink/grenade in mouth), and splendidly so. It's so deft that often a scene is being played out and on the side there is an execution going on, casually unfurled as matter of fact. There's also religious fervour cheekily in place, with Paco's army the Apostles and Polack their Jesus, so it's no surprise that religious imagery is placed within. Corbucci also likes to let his camera talk. Standard Pasta Western traits operate, such as close ups of the eyes, roving tracking shots, angled up tilts and glides. He also gets lucky with the weather for one shot, capturing a natural rainbow amid some more furious character action. Cast are doing sterling work. Nero is cool supreme, with awesome face fuzz and casually striking matches on various things, Nero proves to be a fine action hero and it's so easy to buy into his character. Musante is also excellent, giving Paco an earnestness that's beguiling, he's a lovable rogue, at times bumbling but utterly heroic within the revolutionary arc. While Palance, though not in it as much as you would think, is giving Curly a most intriguing persona, confusing sexuality and religious alibi. From a bullring circus opening featuring midget clowns, to a glorious clifftop turkey shoot finale, there is nary a dull moment in the pic. Top dollar Pasta Oater. 8.5/10



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