Top Trailers: ANY GUN CAN PLAY
AFistful Of Dollars was produced in 1964 but didn't make it toAmerican distribution until 1967. When it became a surprise hit, the floodgatesopened in the U.S. for this new novelty known as the "spaghettiwestern" and they became a staple of theatrical programming. The trailersmade for the U.S. releases rarely let on at their foreign origins and focusedmainly on shootouts and punchups along with whatever dramatic visuals lookedgood in a trailer. That said, the unique character of these films often shinedthrough, no matter how cookie-cutter the trailer editing approach might be.
A good example is the English language trailer for Any Gun Can Play. This 1967 western was an early directing gig for Enzo G. Castellari, a director who would become beloved in the '70s for intense, visually imaginative action films. You can see that flair along with some post-modern playfulness in the opening 30 seconds of the trailer. A trio of badass gunslingers stop a man accompanying a cart with three coffins in it. They ask who's in the coffins and he tells them their own names, shooting them down while they're off-guard. If you look closely, you'll notice the three gunslingers are styled and dressed to look like Lee Van Cleef, Clint Eastwood and Franco Nero circa Django. The results are exciting and action-packed yet suffused with a certain deadpan wit.
The next 20 seconds depict thieves on horseback robbinga soldier-manned train. There's lots of rifle fire and men in Union soldieruniforms falling out of windows or off the top of the train. The narratorintroduces the film's title, along with an assurance that it's "molded in the tradition of" A Fistful Of Dollars. Roughly the next30 seconds introduce the cast: American import Edd Byrnes (listed here as"Edd Kookie Byrnes" for fans of 77Sunset Strip), Gilbert Roland, George Hilton and Kareen O'Hara. Hilton isthe film's Man With No Name stand-in, with a bit of Django and Sartana thrownin, and he gets all the best Eastwood-style dramatic visuals.
Next up, approximately 40 seconds of fisticuffs: it's avariety of brawls, sometimes between the three male stars as well as betweenthe stars and an array of stuntmen. The narrator assures us we'll get theaction we've been dreaming of as well as whimsy. The mention of the latter wordprompts some acrobatic, comedic action like Byrnes' stuntman doing an acrobaticflip that predicts the kind of circus-style stunts you'll later see in the Sabata films as well some flying kicksdelivered while swinging on overhead bars that anticipate the slapstick ofTerence Hill/Bud Spencer westerns.
At this point, the trailer moves into its endgame. Plotis referenced in the most minimalist manner by the narrator: he simply tells usthere's a fortune in gold and describes the personas of the characters who willbe pursuing it (brawler, outlaw, bounty hunter). This is followed by a montageof shootouts between our main cast members and a variety of supporting players,all set to the galloping melody of the film's theme song. As the trailer ends, there's a moment wherethe three main characters find themselves under a shower of gold pieces as theyrejoice over their good fortune. On this rousing note, we see the title card onelast time.
The resulting trailer is simple but effective. It's kindof like selling a potential diner on a dish by rattling off its ingredients andreminding them how appealing each one is. To the film's credit, this comingattraction's got enough gunplay, stunts and wit to back up the narrator'ssalesmanship - and if you watch the film, you'll see the irreverence andplayfulness that the trailer's sales-pitch approach doesn't have time toinclude. In any event, both trailer and film are well worth watching forspaghetti western enthusiasts.
To read Schlockmania's review of Any Gun Can Play, click here.