This ensured with such classics as Django (1966), corpses pave its way (1968), the dollar trilogy, Kill Amigo (1967) and other major and minor works for a new picture of Westerns. This was dirty and dark, not shiny and bright. The roles of hero and villain are blurred and mixed, the anti-hero as the protagonist was almost a standard. But 1976 was also the heyday of Spaghetti Western something over. His last great gasp - even if afterwards still produced some late Western - it was Keoma . This can even be understood as a great farewell to the genre called filmed nihilism. He paints a gloomy picture, dominated by the pervasive suffering. This is in clear text of the smallpox and cholera-stricken, devastated home of Keoma, in which he returns after the Civil War. To the fatal disease, the infected are deported in an abandoned mine where they vegetate without any further help on. But the half-breed rescues in one of these transport a pregnant, not ill wife.
Here the great drama of the film does not catch at first. Rulers in the halbverwüsteten hometown of ex-officer Caldwell, who has them and almost ripped the country area under the nail. That have joined the three half-brothers Keomas how these experiences from the mentor. In cleverly inserted into the action flashbacks we learn here that the relationship among the half-siblings had just directions. By the alleged fixing of the father on the small Keoma, the hatred grew on these culminating in some ugly beatings and abuse. This resentment is even years later. Keoma is not solicited. He brings with him the rescued pregnant women not only the mistrust and fear among the citizens who suffer visibly desperate to Caldwell and the disease. Any help such as medicines and the like will not have and also is the city almost entirely cut off from the outside world. Conflicts are thus inevitable and it almost seems as Keoma the superiority stand consisting of Caldwell and the brothers alone against. But his father and his former slave George, he finds support. It is, however, is
not think that Keoma from that point something like "positive vibes" spread. No, the mood of the film remains from the beginning, not just dark and dirty, as it is known from many spaghetti westerns. He vesprüht a totally complete hopeless mood, manifested in the figure of Keoma. A dark shadow must have been over the years to Franco Nero's character is a constant companion in his life. But that lies dormant in him, too good, you can already see his reasons why he keeps the pregnant woman from certain death in the mine. "Your child has a right to life," he answered her own question. Life. A hope in a more desolate than the world as it stands Castellari's film. Is impressive as even the prologue of the film, which shows the return of the half-blood. The city in which he rides is largely devastated and deserted. A life seems already almost no longer be possible. The one and only person he meets here is a mysterious woman who searched the ruins for old junk. According Keoma threatened with death if it appears somewhere. And indeed, it is also in the further course of the film as a messenger announces the ominous used. It is a mystical figure, which created the four screenwriters, including the director himself. Significant here is the scene towards the end of the film when they suddenly during a storm appears in the doorway of an old hut. The storm raging outside, lightning and thunder raging and suddenly it appears and is there without speaking a word. Really it is not their precise role or the meaning of this figure, aware of, but it's a nice gimmick, the touch of the dark history of anything strengthened.
As for the story in and of itself, one enters with Keoma actually known paths. There is a mysterious hero, a mad man who has usurped all power in a small town in itself and by the obstinacy or nonconformity of the protagonist pre conflicts. The skeleton thus appears a bit old and rickety, but we can do it in the film some other way to go. The past of the protagonist is not, as so often in the dark. It will cut and much becomes clear for the actions of that. Moreover, it turns not simply a question of that right back to straight again. Caldwell and his gang are not nearly as present as it would in other movies. Focal point, Franco Nero, who is the Keoma really impressive. Whose game is actually quite minimalist and yet he gives it in the most important moments, his character breathe even more life. Hippie is occurring be disillusioned his thinking. In some moments, he enters so the way of the martyr and the religious symbolism and allusions are motivated not only in the outfit of Nero. Flowing long hair and a beard, let him appear like Jesus. This culminates in the Crucifixion Keomas allow it to ultimately real as the Son of God appear Westernepigone. Dick can be applied to the call, but in the subtext of the work, this seems consistent. IT CAN be part of the viewer to some philosophically-inspired dialogue between Keoma and the mysterious old woman.
is the film by no means a simple, simple Western. Keoma seems to himself to seek a sense of life and a role for him on our round earth. Detached from its roots, of which he was rescued by a cruel fate in early childhood. So the fight against Caldwell also just a good hook. Deeper here, the conflict between him and the brothers will be torn down. Here are revealed features of classical tragedy. Castellari manages this even to create some depth and needs to rest not only on the strong atmosphere. Pleasant is restrained, the film in his action scenes. Is death everywhere alone by the disease topic, the death is often in slow motion dargetellten shootings - a trademark Castellaris - almost like a stylized dance already. Style has the film in any case, and not too tight. Carefully and with great attention to detail has been worked here. The soundtrack of the two De Angelis brothers with extremely high female vocals and the contrasting, deep male voice may be a matter of taste but still fits the action on the screen. Congenial must be called while the camera and editing work. The settings, image sequences and tracking shots are of the highest elevation and manage to enhance the mood of the film incredibly tight again.
The German subtitles melody of dying has been selected for the film while even quite. Conciliatory tone of the film remains at the end for the audience is limited. The searching for themselves Keoma still does not seem to be at the end. He is a restless character who admits to his appearance and the time-settlement shortly after the civil war, even then-current events interpretations. Keoma was in the war and wonders at one point of the film, what to do now at all. He is not aware of its current role in life, a fact that many Vietnam veterans were exposed after the return to war. But so far like Castellari and his co-authors is far from thought. The extensive, but well-assembled mix of mythical and religious props you can watch as I have said more as a melancholy farewell to the genre. Keoma is a visually stunning late Western from Italy, which may be regarded as one of the best of its kind, even if he actually represents a kind of requiem for this.
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