Wordiezett So much average

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Fairaher The film makes a home in your brain and the only cure is to see it again.

Micah Lloyd Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

Leofwine_draca SON OF DJANGO is perhaps one of the most notable of all DJANGO rip-offs following on from the success of the Franco Nero vehicle. This one is also called RETURN OF DJANGO somewhat oddly, given that the main character is Django's offspring, come to find out who killed his deceased father. There's the usual debt of inspiration to A FISTFUL OF DOLLARS, as the setting is a small western town split by two warring sides. Django's kid is in the mix and soon takes up arms himself.This is pretty much par for the course for the spaghetti western genre, quite cheap-looking in places. The writing lets the film down at times, providing ordinary throughout and letting the audience hang at the confuddled climax. Gabriele Tinti, that familiar star of Italian cinema in the 1970s, is the erstwhile hero, supported by a scene-stealing Guy Madison as the helpful town priest.

ma-cortes Ravioli Western with a professional Italian director and two main actors from Spaghetti : Tinti and Madison . This is an exciting film , plenty action , thrills , fights , and starking outdoors from El Lacio , Rome . This violent Western is set on dirty outdoors and evocative interiors , the star is a mysterious revenger who searches for the killer of his father , who comes to a dangerous town and taking on nasty villainous . It deals with an avenger named Jeff Tracy (Gabrielle Tinti), he gone back from a dark past to revenge his parent . Jeff searches for the killer of his infamous daddy , the implacable gunslinger Django . He arrives in a small town , a location called Topeka dominated by violent gangs . In that place there is a feared band led by Clay and his nasty gunfighters . Jeff faces off two wealthy owners Clay Ferguson (Daniele Vargas) and Thompson (Ignazio Spalla or Pedro Sanchez) , both of whom are feuding over business . Thereby involved in a war between two factions headed by former acquaintances of his father . Meanwhile , Tracy saves a damsel in distress called Jane Grayson (Ingrid Schoeller) from Ferguson's hoodlums .Ordinary Western follows the Sergio Leone wake , as it is proceeded in Spaghetti models more than the American Western style . It's a moving western with breathtaking gunfight between the protagonist Gabriele Tinti against the heartless Daniele Vargas and his henchmen ; in addition , a stirring ending fight in the saloon and town square . This movie is a lot of fun to watch , packing elaborate shoot-outs , moving filming , and portentous close-ups of grime-encrustred faces with bloodbaths included . It's an entertaining story with a touch of peculiarity , some offbeat as well as violent roles , and an amazing music score . The picture is a tale of justice and revenge , as a tough man seeks vendetta and his objective results to be a bloody revenge . The basic plot is typical spaghetti western fare , but what makes this movie stand out is its style . The picture is well starred by Gabriele Tinti . Tinti is appropriate in his usual two-fisted character , he ravages the screen , shoots , hit and run and kills . Tinti began playing brief drama roles , in the early 50s , as "Chronicle of Poor Lovers¨ . From there , Gabriele went on acting in sword-and-sandal epics , later moving onto the Western genre , wartime , thrillers and erotic films along with his then wife , Laura Gemser , where he found his niche . The handsome , Italian-born Tinti may be a name best remembered by Soft-core aficionados , he was one of the most popular actors of the genre from the mid-'60s to 70s and 80 until his early death at 59 . Tinti performed a lot of cheap B movies , some of them , nowadays , revered cult classics . Gabriele also interpreted in support roles some international productions as ¨The flight of the Phoenix¨, ¨Guns for Cordoba¨, ¨Riders on the rain¨ and ¨Delusions of Grandeur¨. However , he never became a top international box-office attraction . His acting is often accused of being wooden , but in many manners is ideally suited to playing the steely-faced gunslinger synonymous with the genre . "Son of Django" also starred by Guy Madison , actor who had his first major role in "Until the End of Time" a drama directed by Edward Dmytryk, 1946 to then changed in action roles , mainly series B westerns , get some success with the series "Adventures of Wild Bill Hickok" and ends up traveling in Europe in the sixties where he made a lot of Euro-westerns , such as : ¨Duel at Rio Bravo¨ , ¨7 Winchester for a massacre¨ , ¨Bang bang Kid¨, ¨Five for revenge¨ and ¨Reverend Colt¨ , the latter he played a priest , too . Support cast is plenty of familiar faces , appearing the Spaghetti ordinary roles , such as : Daniele Vargas , Ignazio Spalla , Ivan Scratuglia , Luciano Rossi , Andrea Scotti , Roberto Messina and John Bartha . There is plenty of action in the movie , guaranteeing some shoot'em up or stunts every few minutes . There is a very odd implementation of shots in the camera work during some particular scenes as the film approaches its climax , such as in the final gunfights . The movie gets the usual Western issues , as avenger antiheroes , violent facing off , exaggerated baddies and spectacular duels , excessive zooms , among them . The musician Piero Umiliani composes a nice soundtrack in Morricone style and well conducted , this turns out to be one of the most memorable parts of the movie ; as it's full of enjoyable sounds and haunting musical background . The soundtrack contributes tremendously to the atmosphere of the film, including an emotive leitmotif , and some wonderful songs ; the music score is perhaps the best part of this film . Striking and atmospheric cinematography by Nanuzzi . Osvaldo Civirani's direction is professionally crafted , here he is more inclined toward violence and packs too much action , but especially this thrilling Western contains long shoot'em up . He directed this average/passable western , genre in which he would not only excel but one where he would spent much of the rest of his career , as he wrote/directed some Spaghettis , such as : "Rick and John, Conquerors of the West" , "Trusting Is Good... Shooting Is Better" , "Two Sons of Trinity" . Although he also directed other genres as Peplum : ¨"Kindar the Invulnerable" , "La Magnifica Sfida" , ¨The adventures of Hércules¨ and thrillers/Eurospy genre as "The Beckett Affair" , and "Operazione poker"

ccmiller1492 "Son of Django" amounts to nothing more than the title character's vendetta against what approximates a "Mafia don" in the old west...... It's a routine plot with Jeff Tracy, Django's son avenging his death. I never liked our American westerns much because they mostly seemed so unconvincing...the heroes (like Randolph Scott and John Wayne) and even the villains are way too clean and sterilized for the times, and the killings are antiseptically bloodless for some odd reason. I now watch them just for the plots and the settings, which are superior to the spaghetti westerns.As sub-par as this one is, it's faults are mainly due to the writers and director. Gabriele Tinti cannot be blamed for his lack of any credible dialog. His good-looking, masculine face and weathered,beard-shadowed jaw perfectly resembles those western heroes customarily pictured on American pulp paperbacks. He's long, lean and could be mean, but he's got a lot of soul and some morality, too. My favorite sequence is when he intervenes to stop a brutal and seemingly endless gang beating of an innocent man right in the middle of the town, in front of the victim's wife. It's hard to believe that Tinti, who looks like the perfect, slightly grubby epitome of the western hero was stuck for most of his career as a supporting character in "Emmanuelle" films. What a waste!I give this film a 7 out of 10 just because of Tinti's magnificent presence which illustrates the ideal of the American western hero. With a better script worthy of him, this could have been a standout and a new direction for his body of work.

Steve Nyland (Squonkamatic) Maybe I just got out of the wrong side of the bed this morning, but this movie sucks. Lead Gabriele Tinti is wooden, bland, lacking in charisma and looks stupid in his white fur jacket. Usually Spaghetti Westerns have long, taut pauses in dialog where actors sort of glare at each other. Tinti's eyes seem glazed over in comparison, as though he was bored and just couldn't think of a one-liner worth opening his mouth for. He walks into rooms, turns around, faces the camera, nods, and walks out. Most of the time he looks like he is sulking; At least Jack Palance would have the excuse of being hung over.I do not like Gabriele Tinti. He has never done anything to me personally of course, and while married to Euro sex symbol Laura Gemser became one of the fixtures of Euro Sleaze. He plays a sadistic creep in BLACK COBRA WOMAN and maybe it just left an impression. In any rate he is not suited for a Spaghetti Western anti-hero. But this movie was cheaply made as possible and perhaps he was all they could afford. Costumes are mish-mashes of department store threads combined with movie prop room cowboy vests. Even the ladies seem to be clad in hand-me-downs from more expensive productions that don't seem to fit them right, and the song one of them warbles for the camera is completely out of place in this production. Then again everything feels out of place; Supporting actors stand around looking like they are waiting for stage directions and the camera lingers on empty space in the canvas of the widescreen picture waiting for something to fill it. More often than not, nothing does.The story is supposedly about Tinti in search of the killer of his father, who was named Django. The only reason to have this plot element was to tie the film to Sergio Corbucci's superior DJANGO from 1966, and the only reason to do that is because nobody would have otherwise cared about this film, and correctly so. If the combined efforts of Guy Madison, Daniele Vargas, writer Tito Capri and composer Piero Umiliani (who would later recycle his musical score for at least 2 other films, both better than this, and who could blame him) cannot add more than a momentary spark to a Spaghetti Western, you know you are in trouble.There's another name in the credits, one Demofilo Fidani. More commonly known by his Americanized moniker Miles Deem, Fidani is a name that Spaghetti Western aficionados have come to associate with cheapness for the sake of cheapness. Between 1970 and 1972 or so he directed a dozen of these things, each one cheaper than the previous, and most of them about as interesting as your average Bazooka Joe chewing gum comic. Here he was in charge of the set designs and chose a minimalist approach that sadly leaves a few too many blank spaces for the imagination to fill in. Which mind you isn't necessarily a bad method given the film's look is approached with a certain sense of style. This movie's was not. It is an assembly of clichés and formula solutions strung together with a modestly engaging musical score, costumed in unattractive drab trappings & populated by actors who not only look like they don't give a damn but don't inspire the audience to give a damn. Even the pretty wife of the mistreated down on his luck dork rancher was only in the film to be abused on-camera as if to provide some sort of exploitation angle. You just don't care what happens to her so long as there is some sort of erotic thrill attached. And her sudden departure is the film's sole moment of surprise, yet does nothing to break the stilted, hesitant dialog, the uninspired camera-work, the clueless mugging of the supporting cast, and the inexcusably out of synch dubbing.I love low budget Spaghetti, but this movie quite frankly is way subpar. The only redeeming quality I can see is a sort of odd visual tension due to when the film was made. 1966 thru 1968 were probably the most interesting years of the Spaghetti boom, the pre- ONCE UPON A TIME IN THE WEST period where the lesser Italian directors were trying to find their voice in the form that Leone & Corbucci invented. This effort straddles the divide between the straightforward Euro Western approach and the Spaghetti "style over substance" method. The basic story, direction and cinematography here is Euro Western, only the content's ultra-violent depravity speaks for what would eventually become the Spaghetti approach.What's missing is the style. The film has no sense of identity, it doesn't know whether it wants to be a cheap knockoff or a languid horse opera. A year after this was made, ONCE UPON A TIME IN THE WEST proved that the Italians could make a Western on the same level of craft & scale as that of John Ford or Peckinpah. By contrast, this film is a slacker, trying nothing new, taking no chances, not even having the decency to provide us a lead star worth rooting for. You sort of watch the action in muted anticipation, hoping that Guy Madison or one of the sleazy villains will do something interesting. Only they don't.3/10