Vashirdfel Simply A Masterpiece

Stometer Save your money for something good and enjoyable

Hadrina The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Josephina Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Leofwine_draca Sergio Corbucci is one of the spaghetti western's greatest directors – he was responsible for two classics, DJANGO and THE GREAT SILENCE, among many others. This is an earlier offering, made before he got his groove on, and it doesn't have the same kind of 'vibe' to it as all the Leone-influenced westerns that came out during and after 1967. This one feels more like a set-bound American western; it has that clean-cut style to it rather than the dark and gritty atmosphere that epitomised the 'spaghettis'.Saying that, it's still a great little film, really well paced for a western and with some intriguing characters. Much of the film's success is down to Cameron Mitchell, who appeared in some of the best genre films Italy had to offer during the '60s; most of these were directed by the great Mario Bava (I'm thinking LAST OF THE VIKINGS, BLOOD AND BLACK LACE, KNIVES OF THE AVENGER, the list goes on). Mitchell was a great actor in my opinion and he's perfectly cast as the hero here. He gives Clay a raw humanity that makes you sympathise with him from the outset and the fact that he's handicapped – as the film progresses he gradually loses his sight – only adds to the pathos. Clay's dire situation makes for a truly nail-biting extended climax as a group of killers prowl after him through deserted streets and stables.Elsewhere, genre conventions abound. There are some brutal Mexicans, led by ever-present character actor Fernando Sancho, and a wonderfully staged shoot-out in which Clay seems to kill about two hundred of the enemy by shooting them off their horses. There's a tough femme fatale, played by the beautiful Argentinian actress Ethel Rojo, who easily holds her own against the macho guys surrounding her. Georges Riviere, who starred in a couple of Italian gothics like CASTLE OF BLOOD before appearing in this, is an unusual villain in that he doesn't actually do much that's villainous in the film: he just stands in Clay's way, and that's enough. The action scenes are well handled and the location work impressive. This is a film where even the horses seem to have their own individuality. The dubbing is pretty bad but this is par for the course for any Italian genre film, really. It's a good looking film, well handled by Corbucci, technically perfect and with enough atmosphere to make it a success.

ironhorse_iv One of the earliest Spaghetti Westerns directed by a pre-Django Sergio Corbucci, this film was indeed, fun to watch and you don't need braille to see that. It's a huge upgrade from his lousy previous film, 1964's Grand Canyon Massacre; a film that doesn't feel like a Spaghetti Western film. Between the time of Grand Canyon Massacre release and the making of Minnesota Clay, a little film call 1964's Fistful of Dollars by Director Sergio Leone came out and change how Italian westerns films would be made. The film would be, more violent, cynical, and have more complex gritty darker story lines. You really see, how much Sergio Leone's film influence the making of this film. The year is 1883, Minnesota Clay (Cameron Mitchell) has just escape from a prison labor Camp. Determined to prove his innocence, he return home to confront the man that framed him, Sheriff Fox (Georges Rivière) whom terrorizing and extorting the town folks for years. Now Minnesota Clay is one fast guy with a gun. Possibly the fastest in the world. Unfortunately he is also slowly losing his eyesight, with his vision now so impaired that one more blow to the face could cause complete loss of sight. To make the conflict worst, Mexican bandits leaded by a man named Gen. Domingo Ortiz (Fernando Sancho) wants to take over the town, no matter whom is the winner. The whole concept of the rivaling gangs (Mexican vs. American) wanting control of a little town, resemble the premise of 1966's "Django" as well as Leone's Fistful Of Dollars in which both were based on Akira Kurosawa's masterpiece 1961's Yojimbo, which in return is based off, the 1929's novel, 'Red Harvest' by author, Dashiell Hammett. The whole idea of a blind man taking on gangs, were taken from the Japanese's Zatoichi's series of films, like 1962's The Tale of Zatoichi & 1962's Zatoichi on the Road. Most of this movie's story ideas, came from director, Robert D. Webb's 1956 hit, 'The Proud Ones' in which the protagonist has to deal with his old nemesis, as well as recurring bouts of blindness. So, the story and plot isn't anything new. Still, the film packs violent shootouts, a really high body-count and action pack scenes. The whole runaway wagon was very entertaining to watch. Lot of crane shots and elaborate pans, truly filling the widescreen frame. You really get the scope of how big the gangs are, with these shots. The acting is pretty good for the most part. Special mention to Fernando Sancho in his ordinary role as the fat Mexican bandit that always fun to watch. George Riviere was alright in the role, but way over shadow by Sancho. He hardly stood out. He clearly isn't in his element in a western context: it would be his only spaghetti western. The women in the film are just beautiful. I have to say, Diana Martin as Nancy was just wonderful. Another was Ethel Rojo as Estella who is as devious as she is beautiful was fun to watch. It was nice to see women have complex roles. There was only one annoying character; that the film could do without, and that's the talkative and clumsy admirer, Andy (Alberto Cevenini). He comes off as a Spaghetti Western version of Jar Jar Binks!! Cameron Mitchell was great in the main role, and you really see his acting chops in the more emotional scenes. While, the acting is good, the whole English dubbing dialogue sounds a bit off. It really didn't match, the lip movement at all. The music score by Piero Piccioni really didn't stand out. Still, it was later featured in the video game 2004's Red Dead Revolver. The stunt work is dangerous in some scenes, the horses & stuntmen really took some awful falls. The movie would influence other films such as 1966's 'An eye for eye¨ by Michael Moore, 1971's 'Blindman' by director Ferdinando Baldi and 1994's ¨Blind Justice¨ by Richard Spence. The movie is a bit aged, but the DVDs out there like the ones from St. Clair Entertainment are in good copies. Due to the low bitrate, there are some smudgy outlines, especially during sideward pans, but colors are vivid and print damage is reduced to some hairs and scratches. The audio is loud and clear, but there are quite a few dropouts. The movie has various endings to this film. Two different versions were made, a shorter one with an unhappy, and one with an added-on happy ending. Some copies of the film, end with Clay lying apparently dead in the street, with Nancy at his side, but in the Italian version, there is a version, where Clays rides off alive and his sight completely restored. The dying ending was a bit off putting. Overall: Watch it yourself, whatever ending you prefer. It's simply a must-see from the early years of the Spaghetti Western.

MARIO GAUCI Corbucci's second Spaghetti Western is an improvement on the first – MASSACRE AT GRAND CANYON (1965) – but still a long way from his best efforts in the genre (namely DJANGO [1966] and THE GREAT SILENCE [1968]). The leading man is Cameron Mitchell, who wisely opted to appear in European films tackling starring roles rather than be stranded in Hollywood playing poor supporting ones; that said, he was also featured in a fine 'B' Western by Monte Hellman – RIDE IN THE WHIRLWIND (1966) – alongside rising star (and screenwriter) Jack Nicholson! The narrative provides many typical Spaghetti Western elements but, as I said, it's an early example yet – so that it lacks the baroque touches inherent in later outings (suffice to compare Corbucci's relatively sober treatment here to the tongue-in-cheek approach to the same concept in the self-explanatory BLINDMAN [1971]!).Here, as in his two better-regarded genre classics, Corbucci gives us a hero – his name probably derives from Jackie Gleason's character, Minnesota Fats, in the pool-room drama THE HUSTLER (1961)! – who has to battle not just the villains but a physical ailment (he's slowly going blind). Besides, he has a daughter who thinks him dead – and he's willing to offer her his protection, while remaining silent about his paternity (only at the climax, when the villain callously exploits his condition by putting the girl in Mitchell's line of fire, does he confess to their kinship!).

marc-366 Now Minnesota Clay is one fast guy with a gun. Possibly the fastest in the world. Unfortunately he is also slowly losing his eyesight, with his vision now so impaired that one more punch could cause complete loss of sight.The movie begins with Clay (Cameron Mitchell) escaping from imprisonment, and intent on getting revenge on the man who set him up. The man in question is Fox (George Riviere), who has appointed himself as the Sheriff of Clay's hometown and abuses this power, with the townsfolk living in terror of his gang. They had initially paid Fox to protect them from bandit Ortiz (played by the ever excellent Fernando Sancho), who himself terrorises the town. In the middle of these two waring parties is Clay's daughter, Nancy, who believes her father is dead, and thinks Clay is merely a local hero. They are reunited, but caught in the crossfire between the two gangs, co-ordinated mischievously by Estella (Ethel Rojo) who is as devious as she is beautiful (and my is she beautiful!).Minnesota Clay is one of the earliest Spaghetti Westerns, directed by a pre-Django Sergio Corbucci. Whilst it is not as captivating or as dark as the films he directed during the Spaghetti boom of 1966-1970, it is still a very enjoyable movie, with the usual sprinkling of injustice that we have come to expect within his films.Mitchell, Sancho and Riviere are captivating throughout, and Rojo could win the heart of any man with her portrayal of Estella (no wonder her character is so able to use those around her so ably). My only complaint would be the vocal overdub on the English soundtrack for the characters of Nancy (drippy) and Andy (who comes over as a Frank Spencer type character - apologies to any non-English readers that may not understand this comparison!). Once you get used to these minor grumbles about the overdub (which, honestly, does not take too long), you can really start to enjoy Minnesota Clay for the highly watchable film that it is.