Mario Brega Movies

Neither the idiotic title Detective School Dropouts nor the film's alternate cognomen Dumb Dicks are worthy of this easy-to-take crime comedy. David Landsberg stars as a likeable schlemiel who is addicted to detective stories. He links up with down-and-out gumshoe Lorin Dreyfuss (brother of Richard--and also, with David Landsberg, the co-writer of this film), hoping that some of Dreyfuss' so-called expertise will rub off on him. This far-from-dynamic duo soon find themselves embroiled in an Italian family feud, a kidnapping, and a murder charge. One of the few Golan/Globus films to lose money, Detective School Dropouts has happily found an enthusiastic audience thanks to multiple cable-TV showings. ~ Hal Erickson, Rovi

Sergio (Carlo Verdone) and Nadia (Eleonora Giorgi) are door-to-door sales reps for a recording company that features the popular Italian singer Lucio Dalla. Nadia is attractive and interested in a bigger and better life for herself. Sergio is well-fed and undistinguished, and together they make a most unlikely romantic pair. Still, the romantic sparks ignite for awhile, and then they separate, leaving Sergio determined to capture Nadia's heart. His method for winning over the fair lady is an ancient one -- he does so by pretending to be super-rich. That leads him up more than one blind alley, creating a maze of incidents that can only be resolved in a final series of twists at the end. ~ Eleanor Mannikka, Rovi

The format of this tripartite comedy by Carlo Verdone and also starring the Italian comic in all three leads worked so well that he did it again in 1981 with Bianco, Rosso, E Verdone. Like the second film, these three stories also take place on one day, August 15th, when Romans leave town en masse. Leo (Verdone here and in the next two leads) is a plain-looking repairman who loves to talk, is tied much too tightly to his mother's apron strings, and is trying to get out to a seaside town to visit her. In the meantime, an enchanting Spanish tourist pops into his life and he is caught between Mom and his better instincts. In the second story, Ruggero is a long-haired non-conformist entranced by a religious cult and under assault by his rational-minded father. The last story is about Enzo, a macho, narcissistic guy who plans on finding sexual adventure in Poland but then is stuck when his companion suddenly needs surgery and the only place available is a hospital along the road. ~ Eleanor Mannikka, Rovi

An amiable con man sets out to land a big score from a man even less honorable than himself in this comic spaghetti western. Joe Thanks (Terence Hill) is a swindler and quick-draw artist who wanders into a dusty little town after literally falling out of a stagecoach while asleep. After besting card-sharp Doc Foster (Klaus Kinski) in a public shootout, Joe reconnects with his old friend Steam Engine Bill (Robert Charlebois), who is traveling with his beautiful but dizzy-headed girlfriend Lucy (Miou-Miou). Joe has learned that Major Cabot (Patrick McGoohan), an officer in the U.S. Cavalry, is escorting a $300,000 fortune that's been earmarked for Indian relief efforts; however, Cabot has no intention of actually delivering the cash, so Joe hatches a scheme to take it for himself. Bill, who bears a slight resemblance to Cabot, will pose as the officer and intercept the money, but when Bill and Lucy are found out and jailed, Joe must come to their rescue. While his name does not appear in the credits, Sergio Leone is said to have co-produced Un Genio, Due Compari, Un Pollo (aka A Genius, Two Partners, and a Dupe) and directed the pre-credit sequence, with Damiano Damiani helming the rest of the picture and receiving screen credit. In Germany, the film was released as Nobody ist der Grosste (aka Nobody is the Greatest) and marketed as an unofficial sequel to Il Mio Nome e Nessuno (aka My Name Is Nobody). ~ Mark Deming, Rovi

Bill (John Phillip Law) grows up to seek revenge on the gang that killed his parents. He meets up with Ryan (Lee Van Cleef), a veteran gunslinger seeking his own revenge for the ones who put him in prison. The two proceed to shoot everything that moves in this violent spaghetti western. Bill eventually discovers Ryan was there when his parents were killed and is torn between killing Ryan and letting him ride off into the sunset. ~ Dan Pavlides, Rovi

In this spaghetti western, an evangelical bounty hunter teams up with another to bring an outlaw gang that has been sneaking illegal immigrants over the border to sell as slaves to justice. ~ Sandra Brennan, Rovi

Clay McCord (Alex Cord) is a former outlaw determined to live the life of a law-abiding citizen. Colby (Arthur Kennedy) is the town marshall who keeps law and order. Not far from the peaceful town is a haven for criminals led by Kraut (Mario Brega), a trigger happy outlaw who welcomes those who are wanted by the law. McCord worries that he may have the epilepsy that plagued his father and hastened his demise. He battles the sadistic gunman while hoping for a pardon from the sympathetic governor (Robert Ryan). He also falls for the lovely Laurinda (Nicoletta Machiavelli) as he walks between the two worlds of the law and the lawless in this action-packed and often bloody western adventure. ~ Dan Pavlides, Rovi

In the last and the best installment of his so-called "Dollars" trilogy of Sergio Leone-directed "spaghetti westerns," Clint Eastwood reprised the role of a taciturn, enigmatic loner. Here he searches for a cache of stolen gold against rivals the Bad (Lee Van Cleef), a ruthless bounty hunter, and the Ugly (Eli Wallach), a Mexican bandit. Though dubbed "the Good," Eastwood's character is not much better than his opponents -- he is just smarter and shoots faster. The film's title reveals its ironic attitude toward the canonized heroes of the classical western. "The real West was the world of violence, fear, and brutal instincts," claimed Leone. "In pursuit of profit there is no such thing as good and evil, generosity or deviousness; everything depends on chance, and not the best wins but the luckiest." Immensely entertaining and beautifully shot in Techniscope by Tonino Delli Colli, the movie is a virtually definitive "spaghetti western," rivaled only by Leone's own Once Upon a Time in the West (1968). The main musical theme by Ennio Morricone hit #1 on the British pop charts. Originally released in Italy at 177 minutes, the movie was later cut for its international release. ~ Yuri German, Rovi

This pulse-pounding follow-up to Sergio Leone's A Fistful of Dollars brings back Clint Eastwood as the serape-clad, cigar-chewing "Man With No Name." Engaged in an ongoing battle with bounty hunter Col. Douglas Mortimer (Lee Van Cleef), the Man joins forces with his enemy to capture homicidal bandit Indio (Gian Maria Volontè). Both the Eastwood and Van Cleef characters are given understandable motivations for their bloodletting tendencies, something that was lacking in A Fistful of Dollars. In both films, however, the violence is raw and uninhibited -- and in many ways, curiously poetic. Leone's tense, tight close-ups, pregnant pauses, and significant silences have since been absorbed into the standard spaghetti Western lexicon; likewise, Ennio Morricone's haunting musical score has been endlessly imitated and parodied. For a Few Dollars More was originally titled Per Qualche Dollaro in Più; it would be followed by the last and best of the Man with No Name trilogy, The Good, the Bad and the Ugly. ~ Hal Erickson, Rovi

By the time Sergio Leone made this film, Italians had already produced about 20 films ironically labelled "spaghetti westerns." Leone approached the genre with great love and humor. Although the plot was admittedly borrowed from Akira Kurosawa's Yojimbo (1961), Leone managed to create a work of his own that would serve as a model for many films to come. Clint Eastwood plays a cynical gunfighter who comes to a small border town and offers his services to two rivaling gangs. Neither gang is aware of his double play, and each thinks it is using him, but the stranger will outwit them both. The picture was the first installment in a cycle commonly known as the "Dollars" trilogy. Later, United Artists, who distributed it in the U.S., coined another term for it: the "Man With No Name" trilogy. While not as impressive as its follow-ups For a Few Dollars More (1965) and The Good, the Bad, and the Ugly (1966), A Fistful of Dollars contains all of Leone's eventual trademarks: taciturn characters, precise framing, extreme close-ups, and the haunting music of Ennio Morricone. Not released in the U.S. until 1967 due to copyright problems, the film was decisive in both Clint Eastwood's career and the recognition of the Italian western. ~ Yuri German, Rovi

This film represents the first spaghetti western to gain world-wide notoriety. It chronicles the adventures of Buffalo Bill who was assigned by General Grant to create peace between the settlers and the Indians. ~ Sandra Brennan, Rovi