Keoma (1976) ****
On the surface Keoma (1976)—widely regarded as one of the best "twilight" Italian Westerns (the genre had basically run its course)—may not appear to be a standout. There are plenty of familiar elements at play, but it's the way that this film uses the genre’s familiar tropes and bends them just so to create a lyrical and melancholic drama with an almost Shakespearean quality that makes it so memorable.
Keoma is the tale of its titular character (Franco Nero), an ex-Union soldier who returns home to find his half-brothers in cahoots with Confederate tyrant Caldwell, who rules the town. Through the use of brilliant flashbacks, the film drops its lead into memories of his past, being tormented by his half-brothers due to his mixed race. As a baby, Keoma was saved by an older woman ("The Witch", who crops up at key moments throughout and may or may not be real) during a Native American massacre. Upon returning home, Keoma himself saves a pregnant woman (Olga Karlatos) from being quarantined in a mine camp full of plague victims by Caldwell's men.
Throughout the film, allusions to Keoma being a Jesus figure are present (with Karlatos and her expressive eyes subbing for Mary)—the most obvious being when Keoma is tied to a wheel in Christ pose. Western veteran Woody Strode plays an older Black man, a friend of the family, who, fed up with Keoma's racist half-brothers and his own mistreatment at the hands of Caldwell's men, joins up with Keoma and his father (William Berger) to take the town back.
Parallels to Sergio Corbucci's Django (my review here), released a decade earlier and also starring Nero, are also present but this is no rehash. Director Enzo G. Castellari's action scenes are a sight to behold—filled with insane amounts of stuntmen flying and twisting through the air in Castellari’s glorious trademark slow motion. Along with the aforementioned flashbacks, beautiful cinematography, strong performances (Nero really sells Keoma's existential crisis), and emotionally charged use of sound (and silence), Keoma sets itself apart.
The most divisive aspect of the film, but one that I really enjoyed is, of course, its soundtrack. The De Angelis brothers are well-known and beloved in Italy. Their soundtracks are always incredible. Keoma is no exception, but it may not be for everyone due to the songs where frequent De Angelis vocal collaborators Sybil & Guy narrate action on screen. Some might find this jarring, distracting or, at worst, obnoxious. I found it to be really interesting and well-executed and just another reason to love the film.
Keoma is the tale of its titular character (Franco Nero), an ex-Union soldier who returns home to find his half-brothers in cahoots with Confederate tyrant Caldwell, who rules the town. Through the use of brilliant flashbacks, the film drops its lead into memories of his past, being tormented by his half-brothers due to his mixed race. As a baby, Keoma was saved by an older woman ("The Witch", who crops up at key moments throughout and may or may not be real) during a Native American massacre. Upon returning home, Keoma himself saves a pregnant woman (Olga Karlatos) from being quarantined in a mine camp full of plague victims by Caldwell's men.
Throughout the film, allusions to Keoma being a Jesus figure are present (with Karlatos and her expressive eyes subbing for Mary)—the most obvious being when Keoma is tied to a wheel in Christ pose. Western veteran Woody Strode plays an older Black man, a friend of the family, who, fed up with Keoma's racist half-brothers and his own mistreatment at the hands of Caldwell's men, joins up with Keoma and his father (William Berger) to take the town back.
Parallels to Sergio Corbucci's Django (my review here), released a decade earlier and also starring Nero, are also present but this is no rehash. Director Enzo G. Castellari's action scenes are a sight to behold—filled with insane amounts of stuntmen flying and twisting through the air in Castellari’s glorious trademark slow motion. Along with the aforementioned flashbacks, beautiful cinematography, strong performances (Nero really sells Keoma's existential crisis), and emotionally charged use of sound (and silence), Keoma sets itself apart.
The most divisive aspect of the film, but one that I really enjoyed is, of course, its soundtrack. The De Angelis brothers are well-known and beloved in Italy. Their soundtracks are always incredible. Keoma is no exception, but it may not be for everyone due to the songs where frequent De Angelis vocal collaborators Sybil & Guy narrate action on screen. Some might find this jarring, distracting or, at worst, obnoxious. I found it to be really interesting and well-executed and just another reason to love the film.
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