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10 years Gary Hamilton (Klaus Kinski) has spent in prison for a crime
he didn't commit, because his best friend Acombar (Peter Carsten) and his
wife Maria (Marcella Michelangeli) framed him, and now Acombar has moved
into Hamilton's estate, has taken over his wealth and possessions ... and
even his wife.
Now though Hamilton has been released, and he has only one thought,
revenge.
As it turns out, Hamilton rides on a stagecoach with Dick (Antonio
Cantafora), Hamilton's son on leave from military school returning home to
visit his father - and he asks Dick to announce his visit that evening -
with the desired effect, Hamilton and his gang are immediately on edge,
but all are trying to (rather badly) hide it from Dick, who has no idea
about his father's crimes. Acombar and his men are preparing to defend
themselves against Hamilton, but for the same night, a tornado is
announced ... and using a csecret atacomb-like system of mines beneath the
city and the dust whirled up by the tronado to hide from Acombar's men,
Hamilton has little problems entering the city and ring the chimes of the
church, which puts Hamilton and company even more on edge. And from a
myriad of hiding places, Hamilton makes good the terror the chimes are
only promising when he shoots down Acombar's men by the dozen without them
ever seeing him.
Eventually, Hamilton runs into Dick, but since the boy hasn't done
anything to him, he refrains from shooting him, but tells him the truth
about his dad - which leaves Dick shattered, but still, he promises his
father to defend him and hunt down Hamilton. But Hamilton knows how to
play his hand, and ultimately Acombar, who by now has pretty much run out
of men, shoots his own son Dick, thinking him to be Hamilton. And he is by
now so on edge that he shoots Maria toowhen she confronts him with it ...
only then do he and Hamilton meet face to face, in a burning hall of
mirrors ...
Of course, Hamilton kills his nemesis in the end, and his estate goes
up in flames. But before Hamilton rides off, he throws away his gun, since
he has accomplished his mission by killing Acombar.
Forget what other people tell you, E Dio disse a Caino is,
besides Sergio Leone's classics and maybe one or two films by Sergio
Corbucci, the best Spaghetti-Western (and one of the best Westerns
as such for that matter). At the same time though, it is probably one of
the most underrated Spaghetty Westerns - and unjustly so: E Dio disse a
Caino is a fine mix of vendetta-Western and gothic horror motives (a
mix that was not uncommon in 1930's and 40's B-Westerns but has vanished
from the Western genre ever since), and director Margheriti - an
underrated director in his own right who is generally only judged by his
worst films - really outdoes himself in creating a creepy atmosphere,
while at the same time keeping things going at a steady pace. And Klaus
Kinski, usually only seen in heavy roles in Spaghetti Westerns, turns in a
nice performance as the hero, who is a bit creepy in his own right.
Simply put, this film is a must for every Western or gothic horror fan,
period.
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