Three things are conspicuously absent from one-time only
director Oscar Santaniello's ''Bounty Killer for Trinity" (**1/2 OUT OF ****) that he
co-helmed with the notorious Aristide Massaccesi, a.k.a. Joe D’Amato, who
served not only as co-writer but also cinematographer. First, we don’t see those rugged, sculptured,
Spanish mountains. Second, where are
those ubiquitous and a Gatling guns/machine guns? Finally, the hero isn’t captured and beaten
within an inch of his life. Otherwise,
this made-in-Italy oater is standard-issue.
The hero dresses like Lee Van Cleef’s Colonel Mortimer from "For A
Few Dollars More," and he rides around with an arsenal that includes a
crossbow. The crossbow is nice touch,
and he gets around to using it the same way Woody Strode did in “The
Professionals,” attaching dynamite to the arrows. Another nice touch is that our hero sometimes
runs out of bullets during the gunfights and seems surprised by this revelation. Otherwise, this town taming western will keep
you entertained if you love double-digit body counts, meatball villains, and
over-the-top dubbing. Jeff Cameron, a.k.a. Goffredo Scarciofolo, who made as
many as twenty Spaghettis, doesn't pack a whole lot of charisma. Little is known about Scarciofolo who made
Spaghetti westerns and sword & sandal epics. According to the Internet Movie Database,
Scarcifolo made his cinematic debut in 1962 in director Michele Lupo’s “Colossus
of the Arena.” As long as he keeps knocking down bad guys like ten-pins in a
bowling alley, Scarciofolo makes a stalwart, if not greedy hero. He insists that he get paid $2-thousand for
each man that he kills along with any bounty on the dastards. He also gets a down payment of $6-thousand
dollars from one of the town fathers. Interestingly,
no sooner has he cleared out the bad guys in Trinity than he receives a summons
to provide the same action in Carson City!
The frontier town of Trinity is as beleaguered by a rabid outlaw
gang as the poor peasants were by rogue bandits in “The Magnificent Seven.” The desperate city fathers don’t immediately resort
to a high-priced vigilante. Initially,
they turn to the government, but the harmless old geezer sent doesn’t stand a
chance against these trigger-happy hellions.
The bandits promptly liquidate him without batting an eyelash. Basically, they have an inside source on the
city council. Unfortunately, the
identity of this quisling, Pizarro (Antonio Cantafora of “Demons 2”), is revealed
almost immediately so we don’t have a chance to figure out who he is based on
our own ingenuity. The Elios studio sets, Osanna Guardini’s wardrobe, and the sounds
of the gunshots are distinctly Spaghetti western. One thing that I enjoy the
most about European westerns are those gunshot reports. American westerns have nothing to compare
with them. Sadly, the formulaic
screenplay by Joe D’Amata and “Zombie Holocaust” scripter Romano Scandariato
contains no surprises, and characterization is restricted to the costumes wore
by each actor or actress. “Django the
Bastard” composer Vasili Kojucharov’s orchestral score isn't worth searching
for on either vinyl or CD, but at least it isn’t the bottom of the barrel. Nevertheless, Spaghetti western fans will
find this trim, 85-minute horse opera devoid of pretentions. The interesting side note is that the town is
named Trinity, presumably because Trinity suggests good memories of Terence
Hill as the comic gunslinger. Although
production designer Oscar Santaniello received credit as the helmer, I have the
feeling that prolific veteran Aristide Massaccesi may have exert more artistry
on this western.
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