a barren desert landscape stirred up by the hooves of horses guided by their riders dash across the country. The three-Caine brothers are on the run from the Rogers. It is a lot of money, but Ben is - badly wounded - on his own land by the brothers made the hostile family. Before the eyes of his wife Maria Ben is hanged by the merciless men. Heavy taken from this cruel act and drawn, her remains almost nothing. The brothers fled her husband to give her what percentage, the state of the dead. This makes up into a ghost town, living in the Manuel, an old friend of her deceased husband. He is practicing for the Obulus revenge on the Rogers, but rejects the Offärte off for now. But he gives to Mary's will, and sets off that confidence to usurp family. When he succeeds in this, and he gets work on the ranch, he kidnapped the daughter of Juana and sparked an avalanche so cruel and tragic entanglements. front of and behind the camera, we find this Robert Hossein, a French actor and director. who has been for many years in the business there. Since the 50's can be admired on the screen and the stage. Here, the man with the striking face even in the venerable Grand Guignol has begun, which is due to its lurid tabloid pieces known and notorious. Raised by the spectacular appearance Hossein held at the beginning of his film career desöfteren gangster roles. The big breakthrough came, however, by the Schmachtstück
Angelique (1964), which brought with it some sequels to see where Hossein again disfigured by a scar Peyrac and thus the love of the eponymous hero. At that time he had already begun to stage their own plays, which were still quite successful. This is driven, he took very early on the director's chair: In 1961 he released his debut 
skin for skin
, an also already in the Western genre Headquartered history. A little known but of only seven years later, resulting skin for skin Cemetery Without Crosses
that his friend Hossein Sergio Leone dedicated. You notice the work also indicated that the friend was the Frenchman with Ukrainian-Iranian origin, a large influence on the film. According to Hossein has directed the sadly died far too early champion of the "Spaghetti Westerns" when visiting the set and the same time the scene itself, however, is cemetery without crosses not a mere copy of the great westerns Leone. In the French-Italian co-production is the influence of the French side, rather the signature of the director, outstanding, even when you recognize the familiar set pieces of the Italian Western variants clearly. The genre already had reached its peak and in spite of the many productions, which fell from Italy was already on the friends of cowboy stories, the original Une cord, un colt titled film stands very nicely out of the Western monotony. Hossein wrote with Claude Desailly (Dario Argento's participation in the book, he denied in an interview some time ago) one of the genre is still remarkable story. Unlike in the Western U.S., where starting times and also treated the ladies in more detail, especially the spaghetti westerns was actually a male domain. Strong women are nil. In this world, they are accessory and from a few minor characters there are no major or notable female figures. In
cemetery without crosses
this is different. The story of revenge and atonement, a popular motif is lit only by the wife of murdered Ben. Shall adopt his widow Maria zenrale a role in the play. Never before has a female character was so present in a spaghetti western, even if still driven a large portion of the story of the male characters. Only is their fate and also act to some extent on the gloomy thoughts of the protagonist. A broken woman, consumed by her rage and grief at the cruel murderer. It seems as if they had to not only a life of earth swept round but to also simultaneously as good as another destroyed. The good woman could be constructed with the proportion of the deceased husband a new life somewhere else. But retaliation under way. Of course, this kind of story in other spaghetti westerns is told. Quarrel is not about any Penunzen, so someone has to pay for a deed committed by him in the past usually terrible. But it was the kind of directorial Hossein and the nature of the structure of the story of cemetery without crosses, is this suddenly so different. This has not only studied the nature and conventions of the spaghetti western is very carefully and This is remarkable in his work, he adds to the simple but also so good and rough history also add a beautiful tragic note. The story can at first seem simple, but the involvement of figures with each other and their interwoven fate turns cemetery without crosses more than an ordinary horse opera. It's is a truly Italo-Western tragedy with strong melodramatic features. Here, the entire mood of the movie about as much determined by the simmering anger and sadness in Mary, where she almost threatens to tear apart. It is painted a dirty and desolate picture. This is the whole thing so sad that the film is stylistically very unusual in black and white and cold starts only after the opening credits to the color changes. It gives Hossein his film and his paintings a visual force that is amplified by the melancholic mood yet. When one talks of hopelessness, then of other sizes genre, whose images are familiar also speak this language and almost surpassed. The derelict ghost town in the Manuel lives, here is a good and yet powerful example of how much can bring
cemetery without crosses
the aspect of the decline in its Settings expressed. It vibrates a certain kind of ink, not further defined in the dark undertone of the film with. Remains Manuel's intention also, so he then responds to Mary Angbot yet, only in the dark. The story is silent at first, like his characters. Even other heroes in spaghetti westerns were ever quite lazy. But this talk is not just a silent Manuel (anti) hero, who prefers deeds instead of words can be. cemetery without crosses rights dialogue is a poor film. It is spoken with expressive images and mimic force and narrated. In this case the director makes a good impression as an actor. Mysterious adopt Manuel, his exact motives are explained in more detail later. It can happen, it seems - as well as other characters of the genre - only for his own gain out to be and people seem indifferent. He seems to have good sides, but also leaves the mistreatment of the kidnapped daughter by the two Rogers brothers Caine to happen just like that. Like Mary, he seems to be in the inner brokenness.
Hossein won for the role of Mary, none other than his from the partner Angelique films Michèle Mercier known before the camera. She proves that she can represent not only a pretty noble. They are even the best mimic in the film to work best, so strong and nuanced, it plays its role. Not only are they driven by their vengeful actions so inevitably into the abyss. There is no way out, a better and more positive alternative to the chosen path is not for the characters. Early in Manuel warns the woman that revenge, this first occurred, not a hundred percent satisfaction is.
cemetery without crosses
is the search for redemption of two battered existences, their fate after the catharsis is not exactly the most positive. Hossein it creates this very skillfully, combining elements of the spaghetti Westerns with those of the tragedy. The relationships and entanglements between the characters remain believable, and the course of history is so slow but it also worked out the more intense. He can be really so necessary for the genre Things like decent action scenes left out. One could accuse
cemetery without crosses
previously that he is almost boring. But the power he achieved not by a long long chases or shootouts on as many as possible Kläppen. The film has a certain hardness, can be here but rather by the dirty look to work his rugged charm as well as the already mentioned gloom here rather the mental cinema. The shrill cry of the ghost town of abused Juana enough here already, in order to create terror. The strengths of the film lies somewhere else anyway, pure action one has no need. The figures are drawn interesting, even quite well-developed and far from the stereotype usually so prevalent. This will devalue other wonderful works of the genre, working with such thing, of course. But then again Hossein's film is much too specific. It's a classic story with a lot of dramatic explosives that the feelings of the spectator - if it is able to engage on it - may explode. is supported by the magnificent score by André Hossein's father - a wonderfully melancholy film that - this should not go unmentioned. An entirely different but just because of the more beautiful spaghetti western, which is just something superficial and profound, a classic tragedy of almost epic proportions is. Cold, black and depressing in its narrative force and this is why so fascinating. In other words, a thoroughly enjoyable package. this or other Western now on tap Bookmark.
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