Enzo G. Castellari’s, KEOMA was released in 1976, and by that time the Spaghetti Western was considered dead. Most Italian directors, by '76, had moved on to crime films and gialli flicks. KEOMA, as well as Sergio Martino’s MANNAJA: A MAN CALLED BLADE have been considered a “twilight westerns”, as they symbolize the last days of the Spaghetti Western. Both films are very different from the Italian westerns from the late 60’s; more poetic, more surreal. KEOMA is ripe with symbolism, and subtext, but the plot is a familiar one. The story is nothing too original; an anti-hero comes to town to save its people--nothing new for a Spaghetti Western, but KEOMA has it's own spin on the old tale with its imagery alone.
Nero stars as Indian half-breed, Keoma, the result of an affair his white Father had with an Indian woman. His life is spared after a raid on his village, and he ends up being raised by his Father, and 3 half-brothers (3 brothers that never accepted him). He's taught how to shoot, and how to fight by his Father, as well as a black ranch hand named George, played by the ever-talented Woody Strode. Spaghetti Western fans will instantly remember Strode from the classic opening scene of Sergio Leone's ONCE UPON A TIME IN THE WEST, although he has many more films to his credit. His performance here may be one one favorites of his.
Later, Keoma becomes estranged from his family when he runs off to fight in the civil war. He comes back years later to find his hometown ravaged by the plague, and in the tyrannical clutches of a man named Caldwell. Keoma's three brothers are now working under Caldwell, after their Father has long since retired. Keoma saves a pregnant woman from some of Caldwell's goons that were shipping her off to a mine outside of town where they ship all the plague victims, although she does not have the plague, her husband does, but they take no chances. Caldwell doesn’t let anybody leave the town (not even to get medical supplies) or enter it. Keoma becomes enraged over this, and plans to put a stop to it by taking out Caldwell and anybody that gets in his way.
Franco Nero is fucking awesome! I've seen many of his films, and he is without a doubt one of my favorite actors. I've always heard him called the Italian Clint Eastwood--and to an extent that may have been true at one point, but I think it also serves him an injustice--he shouldn't be placed in the shadow of Eastwood. I'm not sure why he never got much respect stateside, but no matter what side of the pond you’re on, Franco Nero is one of hell of a great actor. Franco Nero always gives 100% in his roles, and his role, as Keoma, is no different. He helps makes the film the classic that it is.
Beyond Nero's performance, there's the excellent, and fast paced directing skills of Enzo G. Castellari, he's no Leone--but who is? Besides, Castellari emulates Sam Peckinpah more than Sergio Leone in most of films, and KEOMA is no exception. There are some great shots in the film that give it a uncharacteristic surreal feel for a Spag’ Western. Keoma has flashbacks, but it's almost like he's watching the flashback in real time. For example, when Keoma comes back to his Father's ranch he sees a young boy being chased by three other boys--but it's him as a child being chased by young versions of his brothers--fantastic! Another shot that comes to mind is one where Keoma, and his Father are doing some target practice. The camera is behind the target, we see blackness until they shoot, and then the two men are seen through the bullet holes--very clever. Also, Keoma talks to an old witch (she represents Death, while the pregnant woman represents life) that we are never sure if she is real or just in his head.
Speaking of the flashbacks, the casting of Keoma and his brothers as children is incredible--they really look like younger versions of the actors--scary close! Orso Maria Guerrini, Antonio Marsina, and Joshua Sinclair play the older brothers. Sinclair was a Castellari regular, usually playing the baddie, and Orso Maria Guerrini co-starred in Castellari’s THE BIG RACKET prior to KEOMA. Berger, a Spag’ Western veteran gives a standout performance as Keoma’s father, but all 4 men are great. Overall the casting is just perfect.
Then we have the score; there is much debate over the score for KEOMA, from many fans of the genre. You’ll either love it, or hate it—without much room for a middle ground. Personally I think it’s incredible, but not perfect. The score features vocals sung by a woman and man (credited only as Sybil and Guy on the soundtrack; they sing in an operatic style in what sounds like very broken English, and they usually describe what's going on in the film, and even the thoughts of Keoma--almost sounding like his conscience sometimes. The woman's vocals I don't mind too much, but the guy’s voice is hard to take in parts. The two almost sound like Maryanne Faithful and Leonard Cohen high on shrooms, and having a bad trip. It is understandable how it could throw some people off, but personally I really like it, it adds to the whole trippy surreal vibe of the film. Not surprisingly, the team of Guido De Angelis and Maurizio De Angelis wrote the score; they would also do a similar score for MANNAJA a year later. I believe it may have even featured the same male vocalist. As much as I love the score for KEOMA, I enjoy the De Angelis brother’s score for MANNAJA even more.
A minor quibble that I have with the film would be with Franco Nero's deep Italian accent when he's supposed to be an American. It's off setting at first, but Nero is such an incredible actor that after 30 minutes in I didn't even notice it anymore.
Is KEOMA the best Spaghetti Western ever? No, but it's a damn fine one. Most fans of the genre should dig it, but for those who have not dabbled and you're interested in experimenting with the genre outside of the more famous films of Sergio Leone, I say go for it.
