Content: The day could hardly start better for Sergei Kowalski, called “The Polish”: The brothers Gonzales, rich Mexican mineowners, want him to bring three tons of silver outta revolutionary Mexico to the USA. 1000 singles and 200 bucks a week plus expenses are the price for Kowalski’s service. But at the Garcia-mine the Polish only comes across 13 revolting miners under leadership of Paco Román, who have stringed the whole management up. In addition the silver is lost: locked underground after an explosion. However, Kowalski has a purple patch: For a nice amount of dough and a daily salary of 200 dollars he takes the spacy revolutionists under his wings and show Paco, how to make “revolución” . Thanks to the Polish’s advices Paco’s fame rises as his wealth and his army. But after all and despite his new title “General” he’s still a small-time criminal and a nothingness without the smooth customer Kowalski. So every attempt of separation ends up bloody and causes a higher price for Kowalski and his services. Paco has to realise for all his wounded Mexican pride, that the Polish is indispensable, because the Mexican army tries everything to get the annoying “revolutionist”. Furthermore there are the bandit “Curly” and the last surviving Garcia, Alfonso, who are anxious to get back at Paco and Kowalski.
| The Gunslinger says: After different journeyman’s pieces Sergio Corbucci created a first masterpiece and to me his best SW. He reached a quality standard, which is hardly reachable, even for Corbucci himself. Only “The big Silence” could advance in this region. Everything fits in here: Actors efforts are great every single one, with Franco Nero, who seemed a little bit stiff to me in “Django”, now is putted in a higher gear. Compared to the later “Companeros”, which deals with a similar subject, Corbucci doesn’t use the revolution as a platform for a better Punch and Judy show. He takes the problems of the tortured people serious and lets Paco undergo a credible development from an usual criminal for sake of his own advantage to a conscious revolutionist. Such a ripening is rejected to Kowalski: He does his ex-partner a – free! – and last favour, before continuing to follow the lure of dollars. This film obviously had quite a big budget, what is visible by the lush gunplay and the many extras. The action scenes are staged fast and punchy. To round this, we get a first class camera and a superb score by Morricone, which features beside its Mexicano themes many whistling, guitars and trumpets.
| Rating: $$$$$
| Bodycount: uncountable, but > 100
| Explicit Brutalities: - If people are needless for „Curly“, they are eliminated by his henchman Sebastian (José Canalejas)
- „Curly“ is left in the hot and stony wilderness by Paco’s men – completely naked
- A wounded Mexican is killed by a hand grenade, „Curly“ putted him in his mouth
| Luv': … doesn’t occur really, despite Columba seems to be attached to Paco: 1/10
| Gore: 3/10
| Specials: - Kowalski lights his matches on living and dead people
- His car serves as armed vehicle and rolling bomb
- The Mexican army deploys an aircraft against the revolutionists, without reckoning with Kowalski
| Trailer: by peacesofmydream
|
| OT:
Il Mercenario
AT:
Salario para matár (SP)
Revenge of a Gunfighter (USA)
The Mercenary (USA)
Year: I/SP 1968
D, S: Sergio Corbucci
S: Luciano Vincenzoni, Adriano Bolzoni, Sergio Spina
C: Alejandro Ulloa
M: Ennio Morricone
with: Franco Nero, Tony Musante, Giovanna Ralli, Jack Palance
 | It's sink or swim for Eduardo Fajardo, ...
|  | ... with a certain effect on Tony Musante
|  | Once again in a predictament: This time Franco Nero is calling the shots
|  | Got some light, mate?
|  | With best regards by Jack Palance
|  | Hannibal Lecter goes West
|  | Showdown in bull shit
|
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