Tag Archives: Spaghetti Westerns

The Great Silence

Of all the filmic subgenres to come out of Europe during the 60s, the Spaghetti Western is the most macro, containing multitudes. With literally hundreds of entries, it was inevitable that filmmakers would indulge in some hybridization to mix things up, with the results being, among many others, the comedy westerns of the Trinity series, gothic westerns like Antonio Margheriti’s And God Said to Cain, and the Bondian trappings of the Sartana series. Come the late 60s, such filmmakers began to experiment with style and content as well as genre, leading to some of the more “arty” spaghettis that are today among the best of the cycle, such as Robert Hossein’s Cemetery Without Crosses and Giulio Questi’s Django Kill! Arguably the best of all of these was The Great Silence, directed by Sergio Corbucci, who was one of the genre’s founders and trailblazers despite his repeated claim that he hated westerns.

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Companeros

No genre is so simple that it’s well suited by being made a genre, just as no individual member of a race is justly served by being made part of said race. But in the quest to classify or define easy descriptions, these broad-sweeping categories are the best we people can come up with. It is a concept that dismisses any sense of variation or individuality, and while I admit that generalization is often a necessity for making it through everyday life, it’s also a big part of why we tend to miss out on so much wonderful stuff. Take the Spaghetti Western, for example, or the Western, since that’s how most people tend to see it. I can’t even begin to process the number of people I’ve spoken to who hate Spaghetti Westerns even though they’ve never seen one. They equate the Western with polished American films, with John Wayne or Gene Autry, or they simply hate country music, thus they hate cowboys, thus they hate Westerns. An entire genre of film is then dismissed despite the fact that there are hundred of films that break the mold, that would prove entertaining to these people if they could only get over the fact that the people in them are from the wild west.

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