Ennio Morricone Movies
With his peerless versatility and productivity, Ennio Morricone has been one of the most famous and influential film composers since the 1960s. Drawing from classical, jazz, rock, Italian folk, and avant-garde influences, Morricone's 400-plus scores have accompanied every conceivable movie genre; his innovative soundscapes for Sergio Leone's 1960s Westerns, however, were enough to ensure his lasting reputation. His list of directorial collaborators a veritable Who's Who of post-1960 international cinema, Morricone's music has masterfully accompanied the films of most notably Leone, Bernardo Bertolucci, Pier Paolo Pasolini, Giuseppe Tornatore, Roland Joffe, Brian De Palma, and Warren Beatty.A lifelong Rome resident and classically trained musician, Morricone began studying at the Conservatory of Santa Cecilia at age 12. Advised to study composition, Morricone also specialized in playing trumpet and supported himself by playing in a jazz band and working as an arranger for Italian radio and TV after he graduated. Morricone subsequently became a top studio arranger at RCA, working with such stars as Mario Lanza, Chet Baker, and the Beatles. Well-versed in a variety of musical idioms from his RCA experience, Morricone began composing film scores in the early '60s. Though his first films were undistinguished, Morricone's arrangement of an American folk song intrigued director (and former schoolmate) Sergio Leone. Leone hired Morricone and together they created a distinctive score to accompany Leone's different version of the Western, A Fistful of Dollars (1964). Rather than orchestral arrangements of Western standards à la John Ford -- budget strictures limited Morricone's access to a full orchestra regardless -- Morricone used gunshots, cracking whips, voices, Sicilian folk instruments, trumpets, and the new Fender electric guitar to punctuate and comically tweak the action, cluing in the audience to the taciturn man's ironic stance. Though sonically bizarre for a movie score, Morricone's music was viscerally true to Leone's vision. As memorable as Leone's close-ups, harsh violence, and black comedy, Morricone's work helped to expand the musical possibilities of film scoring. Though he was initially billed on Fistful as Dan Savio, Morricone's name became almost as well-known as Leone's when his more ambitious score for The Good, the Bad and the Ugly (1966) yielded a Top Ten hit (despite his avowed disdain for pop music soundtracks).
Even more so than in the first two Dollars films, Morricone's scores for The Good, the Bad and the Ugly and Leone's epic Once Upon a Time in the West (1968) elevated the action to operatic heights. Reaching crescendos in The Good's famous graveyard shootout and West's showdown between Charles Bronson's Harmonica and Henry Fonda's Frank Booth, Morricone and Leone created set pieces that were as powerful musically as visually, placing music on a par with the image rather than subordinating it. Integrating a spectral harmonica into the theme music for Booth as well as Harmonica, the soundtrack hints at their fateful relationship long before the truth is visually revealed. Morricone's scores were so integral to Leone's Westerns that he had Morricone write and record Once Upon a Time in the West's main themes, and then played them during shooting so that the actors could move to the score's rhythms. Morricone and Leone repeated this for their equally effective collaboration on the gangster saga Once Upon a Time in America (1984).
Even as he was permanently changing the landscape of Western scores, the breadth of Morricone's talent became apparent as he took on more overtly "art" film projects. Morricone's music lent drama to Gillo Pontecorvo's highly regarded, documentary-style war film The Battle of Algiers (1966); that of Algiers and his score for Pontecorvo's Queimada! (1969) were two of Morricone's outstanding, non-Leone 1960s works. Morricone also delved into the remnants of Italian cinema's postwar heritage with Marco Bellochio's unsung, late neorealist film Fist in His Pocket (1965), Bernardo Bertolucci's neo-neorealist second film Before the Revolution (1964), and Pier Paolo Pasolini's parable/farewell to that legacy, Hawks and Sparrows (1966). Keeping pace with Bertolucci's and Pasolini's evolving styles and concerns, Morricone continued to collaborate with the directors into the 1970s. From the Godard-ian Partner (1968) to the coming of age story Luna (1979) and hostage drama Tragedy of a Ridiculous Man (1980), Morricone enhanced the emotion and drama of Bertolucci's increasingly stylized (and occasionally muddled) imagery, reaching an apex with the somber, grand, and celebratory compositions for Bertolucci's epic 1900 (1976). Morricone's lavish scores for Pasolini's sexy, satirical "Trilogy of Life," The Decameron (1970), The Canterbury Tales (1971), The Arabian Nights (1974), and his notorious final film Salo, or the 120 Days of Sodom (1975), were one of the few aspects of the films not to provoke controversy.
Staying close to his genre film roots even as he advanced in art cinema, Morricone provided psychedelic accompaniment for Mario Bava's superhero romp Danger: Diabolik (1968), and crafted a series of evocative scores for Dario Argento's stylized thrillers, including The Bird With the Crystal Plumage (1969), The Cat O'Nine Tails (1971), and Four Flies on Grey Velvet (1974). Enhancing his international reputation from the 1970s onward, Morricone continued to compose for movies across the artistic spectrum as well as collaborating with an international constellation of directors and stars. Beginning with The Burglars (1971), Morricone devised straight-up action scores for several Jean-Paul Belmondo star vehicles, including Le Professionel (1981); his music also graced the wildly popular French transvestite comedy La Cage Aux Folles (1978) and its sequels. Hired by Don Siegel to give his ironic edge to the Clint Eastwood Western Two Mules for Sister Sara (1970), Morricone made his presence felt in American films in the late '70s with his eerie, pulsating music for the otherwise ridiculous sequel The Exorcist II: The Heretic (1977). Morricone finally received his first Oscar nomination for his magical, pastoral score for Terrence Malick's spectacularly beautiful Days of Heaven (1978).
Constantly working and easily shaking off such lows as a Razzie nomination for John Carpenter's remake of The Thing (1982), and the troubled fates of Sam Fuller's provocative race drama White Dog (1982) and Leone's Once Upon a Time in America (1984), Morricone hit another career peak in the mid-'80s with directors Roland Joffe and Brian DePalma. Merging Brazilian folk and European liturgical traditions through drums, flutes, oboes, chants, and arrangements of "Ave Maria" and "Te Deum," Morricone's majestic score for Joffe's award-winning epic The Mission (1986) garnered another Oscar nomination and became a soundtrack hit. One of Morricone's personal favorites (along with The Exorcist II), he has said of The Mission that it "represents me nearly completely." Morricone earned another Oscar nod the following year for his lushly orchestral, yet edgy, percussion-driven score for De Palma's popular big screen version of The Untouchables (1987). As with his durable associations with Leone, Bertolucci, and Pasolini, Morricone went on to score Joffe's Fat Man and Little Boy (1989), City of Joy (1992), and Vatel (2000), and De Palma's Casualties of War (1989) and Mission to Mars (2000).
Morricone entered into yet another fecund creative partnership in the late '80s with Giuseppe Tornatore's Cinema Paradiso (1988). A favorite of movie music fans, but not one of his Oscar nominations, Morricone's score struck the perfect balance of sentimental, bittersweet nostalgia to accompany Tornatore's paean to cinema. Morricone also scored Tornatore's more downbeat Everybody's Fine (1990), cinema love letter The Star Maker (1995), and earned kudos for his imaginative music for The Legend of 1900 (1998). His work on Tornatore's Malena (2000) earned Morricone his fifth Oscar nomination.
After excursions into Shakespeare with Franco Zeffirelli's version of Hamlet (1990) and the dark side of desire with Pedro Almodóvar's sex comedy Tie Me Up! Tie Me Down! (1990), Morricone garnered his fourth Oscar nod for his moody, period-tinged score for Barry Levinson's Bugsy (1991). As prolific in the 1990s as ever, Morricone had a happy reunion with Eastwood for the summer hit In the Line of Fire (1993), provided the violins for Bugsy star Warren Beatty's glossy remake of Love Affair (1994), brought out the horror and romance in Mike Nichols' Wolf (1994), ditto for Adrian Lyne's adaptation of Lolita (1997), and scored a docudrama about his erstwhile murdered collaborator Who Killed Pasolini? (1995). Working again with Beatty, Morricone neatly sent up political platitudes with martial horns, drums, and fifes and hauntingly paid tribute to the senator's spirit with soaring yet funereal strings in Beatty's incisive satire Bulworth (1998), earning a Grammy nomination for his work.
Even as he began to collect lifetime achievement awards, including a Golden Lion at the Venice Film Festival in 1995, Morricone continued going strong into the new millennium. Maintaining his presence in European and American cinema through his work with Joffe, De Palma, and Tornatore, Morricone also revisited another past creative relationship when he reunited with The Cannibals (1971) director Liliana Cavani for her adaptation of Patricia Highsmith's Ripley's Game (2002). ~ Lucia Bozzola, All Movie Guide
- 1978
Romance takes a back seat to drama in this movie depicting life at the once-fashionable Parisian bordello known by its address 122 Rue de Provence. Patronized by the wealthy and powerful, this elegant house of prostitution featured a top-ranked restaurant and specialized rooms for men with unusual tastes: a railroad carriage room, a stable room, etc. In the story, two young people "on the make" bump into each other as they are arriving in the same rail station. Though attracted to one another, they are deliberately vague about their destinations. He is headed for a diplomatic career, she is an ambitious young prostitute who wants to work at the best house in France. Later, they meet at 122 Rue de Provence. ~ Clarke Fountain, All Movie Guide
- Starring:
- Nicole Calfan, Francis Huster, (more)
Bernardo Bertolucci's 255-minute 1900 was a gargantuan undertaking, requiring the resources of three European countries and a trio of American movie studios. Set in the Italian town of Parma, the film's continuity backtracks from Liberation Day in 1945 to the occasion of composer/patriot Giuseppe Verdi's death in 1901. We follow the lives of two men born on that day in 1901, who grow up to be Alfredo Berlinghieti (Robert De Niro) and Olmo Dalco (Gérard Depardieu). Wealthy Alfredo sinks into dissipation, while poverty-stricken Olmo becomes a firebrand labor leader and communist. After WWI, Alfredo is allowed to peacefully retain his land holdings by playing nice with the burgeoning fascists; Olmo, on the other hand, engages in a long-standing battle against the minions of Mussolini. The two protagonists are reunited when Alfredo returns to Parma to preside over Olmo's trial for "political crimes." Co-star Burt Lancaster is cast as Alfredo's wealthy grandfather, who hates to see the old values buried beneath the social travails of the 20th century. Many American prints of 1900 were shortened to 243 minutes, rendering the story hard to follow at times. ~ Hal Erickson, All Movie Guide
- Starring:
- Robert De Niro, Gérard Depardieu, (more)
- 2006
The devastated life of a man haunted by the unsolved murder of his beloved wife is strangely complicated by the mysterious neighbor who loves him from afar in a dark noir thriller directed by Manuel Pradal and starring Norman Reedus, Emmanuelle Béart and Harvey Keitel. Vincent (Reedus)' wife has suffered a most brutal fate, and these days the once happy New Yorker is but a frozen shell of his former self. Vincent is not a man unloved, however, because although he may currently be unaware of her feelings for him, his neighbor Alice (Béart) knows in her heart that she and Vincent were meant to be together. All that needs to happen to make Vincent recognize her love is for the grieving widower to finally be liberated from his tragic past; and Alice is willing to go to any lengths necessary in order to make this happen. If Vincent was finally to find the man responsible for his wife's death, he could finally be free to open his heart to Alice. When Alice hails a cab driven by lonely New York soul Roger (Keitel), the gears of the scheming woman's elaborate plan are slowly set into motion despite the ignorance of both the naïve cabbie, and the somber object of her delusional affections. ~ Jason Buchanan, All Movie Guide
- Starring:
- Harvey Keitel, Emmanuelle Béart, (more)
- 1992
Julia had a good job in the old communist-ruled Hungary. She was an electrical engineer. Now she is thirty, and since the government has fallen, the rules of the game have changed. Without a job for the first time in many years, she discovers that her husband has been carrying on with his boss' daughter, so she moves in with an older woman who has been her friend for some time, a widowed lawyer. After some searching, she finds a job as a waitress and becomes embroiled in the restaurant-owner's struggle to hang on to the business in the face of efforts by a local gang to take it over for themselves. ~ Clarke Fountain, All Movie Guide
- Starring:
- Rita Tushingham, Aniko Fur, (more)
- 1969
- PG
In this 1968 Italian production, Francesco Maselli directs this light-hearted and fast-paced caper comedy with Rock Hudson as New York City police captain Mike Harmon, who becomes involved with sex bomb Esmeralda Marini (Claudia Cardinale). Esmeralda, using the ploy that Harmon was an old friend of her father, convinces him to help her return some hot jewels to their former owners. Soon enough, Harmon and Esmeralda are jetting to Austria, where Harmon disables the victims' home-security system and sneaks the jewels back into their rightful place. But Esmeralda has tricked Harmon into replacing the real gems with fake ones, and now Harmon is a jet-set thief along with Esmeralda. Harmon, having gotten a taste of criminal high life, wants to split fifty-fifty with Esmeralda on the next heist. Esmeralda, however, wants to call it quits and get married. Harmon, doesn't see it that way, and Esmeralda, a one-man woman all the way, follows him as he heads off to his next nefarious adventure. ~ Paul Brenner, All Movie Guide
- Starring:
- Rock Hudson, Claudia Cardinale, (more)
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, All Movie Guide
- Starring:
- Clint Eastwood, Marianne Koch, (more)
This cult movie classic, also known as Schizoid, is a psychodrama murder mystery thriller involving LSD, psychoanalysis, lesbianism, and having at least one extremely gory dream sequence which involves eviscerated dogs. The director had to prove in court that the dogs in question were fabricated and not real. Florinda Bolkan stars as the woman with all the clues to murder. Stanley Baker is the unlucky police inspector who has to separate what is fact from fantasy. ~ Clarke Fountain, All Movie Guide
- 1968
This spaghetti western finds a despotic mine owner (Eduardo Fajardo) the target for revenge by the idealistic patriot Eufemio (Tony Musante). He hires Bill Douglas (Franco Nero) to incite a revolution that will oust the government and the greedy miner. Douglas agrees as long as his creature comforts are insured during the crossing of the unforgiving desert. Ricciolo (Jack Palance) is the mercenary working for the side of the mineowner. Ennio Morricone provides the music for this violent and humorous film. ~ Dan Pavlides, All Movie Guide
- Starring:
- Franco Nero, Tony Musante, (more)
- 1994
- PG13
The sweet sentimental gauze of director Giuseppe Tornatore's international hit Cinema Paradiso (1988) is nowhere to be found in this dark, Kafkaesque crime thriller that takes place, stage play-style, mostly in the confines of one room. Gerard Depardieu stars as Onoff, a famed author who has become a recluse in recent years, publishing nothing. Late one night he is picked up by police officers, who find him running across the French countryside in the rain, breathless and apparently suffering from short-term memory loss. A murder has been committed in the nearby woods, and suspecting Onoff's involvement, the authorities detain him at a leaky, dark command post to await the arrival of an inspector (Roman Polanski), ironically a fan of Onoff's work, who will interrogate his subject and try to arrive at the truth. Una Pura Formalita (1994) was produced simultaneously with Polanski's Death and the Maiden (1994), another film with a stage-bound quality featuring a long, stormy night's interrogation in a single room. ~ Karl Williams, All Movie Guide
- Starring:
- Gérard Depardieu, Roman Polanski, (more)
- 1988
- PG13
Martin (William Hurt) and Jack (Timothy Hutton) are World War II soldiers who go from being army buddies to bitter enemies during the war in this uneven melodrama. Not realizing they are brothers-in-law, Martin eventually learns that Jack is married to his sister Josie (Melissa Leo). On their wedding night, Josie's father Jorge (Francisco Rabal) had abducted her in an attempt to dominate her with his old-world ideals of marriage. When Jorge drowns in a lake after the car skids off the road, black-sheep Martin returns home to learn of his father's death, vowing to avenge his father after he learns his buddy is his sworn enemy. ~ Dan Pavlides, All Movie Guide
- Starring:
- William Hurt, Timothy Hutton, (more)
In this mystery, a vengeful husband goes looking for the six people who tortured him and then killed his wife. The husband is a WW II vet and one of the killers is now a high-ranking German official. The plot is based on a Mario Puzo story. The film is also titled Seven Graves for Rogan. ~ Sandra Brennan, All Movie Guide
- Starring:
- Edward Albert, Rod Taylor, (more)
- 1972
Based on the Restoration-era play by John Ford, the Italian 'Tis a Pity She's a Whore (Addio, Fratello Cruelle) stars Charlotte Rampling as the much-put-upon Annabella. Involved in an incestuous relationship with her own brother, Annabella becomes pregnant. This necessitates a quick marriage of convenience to nobleman Soranzo (Fabio Testi). Upon finding out who's responsible for Annabella's plight, Soranzo flies off into a murderous rage. Before you blame the "liberated" 1970s for the racier aspects of 'Tis a Pity She's a Whore, please remember that the source material is 300 years old. ~ Hal Erickson, All Movie Guide
- 1996
This drama, set in 1938, chronicles a month in the life of the Portuguese journalist Pereira. He is first seen as a lonely, widowed, and overweight editor of the culture page of a second-rate Lisbon newspaper. Earlier in his career, he had been a news reporter. Pereira is fascinated with old literature; he is also obsessed with death. He hires himself an assistant, Monteiro Rossi, to prepare obituaries for old writers before they die. The young man and his girlfriend are both passionate fighters against the dictatorship in Portugal. They, along with a German Jewish woman, help to draw Pereira out of his dusty old books and spark his interest in the current political turmoil of Europe. Eventually they strongly encourage him to use his position to post notice of the impending dangers to the public. At their urging, Pereira is emboldened to publish his translation of an anti-German French short story. Although he sneaks it past the censors, his editor catches it and Pereira is in deep trouble. Meanwhile Rossi leaves his job to join the underground revolutionaries. Pereira keeps sending money to Rossi's girl, but he doesn't become totally committed to the cause until he meets up with the philosophical cardiologist who narrates the tale. ~ Sandra Brennan, All Movie Guide
- Starring:
- Marcello Mastroianni
- 1973
In Allonsanfan, the director/brother team of Paolo Taviani and Vittorio Taviani weave a witty and occasionally melancholic tale of 19th century radicalism in Italy. Marcello Mastroianni stars as Fulvio, a middle-aged man swept up in a extremist political movement. The more he protests that he wants no part of politics, the deeper he becomes enmeshed in the Cause. This film might make an intriguing companion piece to the earlier Mastroianni film The Organizer (63), in which he portrays one of the very radical types that his character in Allonsanfan so zealously repudiates. The title refers to the phonetic spelling of "Alons enfants," the first two words of the French "Marseillaise". ~ Hal Erickson, All Movie Guide
- Starring:
- Marcello Mastroianni, Lea Massari, (more)
Alberto De Martino's imitative occult horror film, photographed by Aristide Massaccesi (aka Joe D'Amato), is probably the best of numerous Italian copies of The Exorcist which flooded theaters in the mid-1970s. Carla Gravina stars as Hipolita, a paralyzed young woman with serious mental problems stemming from the death of her mother. Her crisis of faith and the intervention of a well-meaning psychologist lead Hipolita to remember her past life as a witch during the Inquisition. Eventually, Hipolita becomes possessed and starts seducing local men, only to break their necks. Eventually, she sleeps with her brother, makes a local sorceror lick vomit from her hand, and levitates out the window. It takes an exorcism performed by an aging monk (George Coulouris) and the family housekeeper (Alida Valli) to restore order. De Martino and the talented cast manage a few chilling moments despite the predictable storyline, and Gravina is quite good in the lead. ~ Robert Firsching, All Movie Guide
- Starring:
- Carla Gravina, Mel Ferrer, (more)
- 1967
Apparently in the Italy of the 1920s, the only way to keep your home out of the maws of the tax collector was to steal and cheat from everyone in sight -- and the dupes you'd swindle wouldn't know the difference since all their attentions would be focused upon cheating you. That little bit of homespun philosophy is the only conclusion to be drawn from Arabella, a broad sex-farce enlivened with British comic Terry-Thomas appearing in a quartet of roles, and the sexy Virna Lisi as the title character, who is compelled into chicanery in order to prevent her mother's home from being taken away by the tax man. To raise funds, Arabella rooks money from Terry-Thomas, in various fake beard incarnations as a general, a duke, a hotel manger, and an insurance agent. But while she is busy conning the four Thomases, she steps on the toes of an equally tricky burglar (James Fox) and two young lovers -- Giancarlo Giannini and Melina Vukotic. Arabella ultimately becomes attracted to the burglar. Now she must hold her base animal urges in abeyance and concentrate on squeezing more cash out of the Terry-Thomases. ~ Paul Brenner, All Movie Guide
- Starring:
- Virna Lisi, James Fox, (more)
- 1975
In this intellectual drama, Ras (Eli Wallach) is a ruler or dictator who, somewhat like the Biblical King David, covets another man's wife as his own. Unlike David, however, Ras wants to humiliate Marcello (Nino Manfredi), a dedicated musician whose life he has already ruined. He forces Marcello to seek an annulment to his marriage through the Vatican. ~ Clarke Fountain, All Movie Guide
- Starring:
- Nino Manfredi, Eli Wallach, (more)
A young med student is doing his grad work at the local morgue when a series of mysterious and unexplained deaths (ascribed to suicide) surround her. The sudden influx of corpses is more than this fellow can handle. ~ All Movie Guide
- Starring:
- Mimsy Farmer, Barry Primus, (more)
- 2009
Giuseppe Tornatore directed this grand-scale portrait of life and love over several decades in a small town in Sicily. The Torrenuovas are a family of peasant shepherds who have lived and worked in Bagheria though many generations. In the years before the rise of Mussolini, the family often found themselves working for Don Giacinto (Lollo Franco), a local tycoon who often used his power and position to take advantage of others. Young Peppino Torrenuova senses a profound injustice in the way Don Giacinto treats his elders, and as the years pass the young man becomes a passionate advocate for social change. Once he grows to be a man, Peppino (Francesco Scianna) falls in love with beautiful Mannina (Margareth Made) and they get married, starting a family of their own over the objections of Mannia's parents, who believe she can do better. As Peppino throws in his lot with the local Communist party and works to make life better for his fellow peasants, we see a number of important historical events through his eyes and watch the fortunes of his town and his family rise and fall. Featuring guest appearances by Monica Bellucci, Raoul Bova and Donatella Finocchiaro, Baaria was the opening night attraction at the 2009 Venice International Film Festival. ~ Mark Deming, All Movie Guide
- Starring:
- Francesco Scianna, Margareth Madè, (more)
- 1963
Three young men in a small town in Southern Italy lead directionless lives wandering around town, telling lies and boasting about their alleged romantic conquests. When one goes off to Rome with his Aunt, he returns with fabulous stories about the nightlife, the women and the modern advancements of the big city. He vows he will return, but soon is back to his familiar pattern of hanging out with his idle friends in pursuit of a good life they may never see. A woman kills herself when she feels her life is completely negated by her daughter-in-law. Another woman verbally assault her husband in the town square in front of disbelieving locals before she leaves him there. A man finally gets up the nerve to visit a hooker, only to be embarrassed when he meets an acquaintance on the way to her room. The film was written and directed by Lina Wertmuller, who vividly captures the mood of the sleepy town where the three young men seemed destined to spend their uneventful lives. ~ Dan Pavlides, All Movie Guide
- Starring:
- Stefano Satta Flores
In Beyond Justice-- an Italian-made action film directed by Tessari Duccio with an unusually fine cast -- Christine Sanders (Carol Alt), American millionairess and mother of the grandson of a fanatic Emir (Omar Sharif), hires mercenary Tom Burton (Rutger Hauer) to return her son after the Emir has him kidnapped. Against the advice of her lawyer (Elliott Gould) and her friend Sal (Brett Halsey), Christine accompanies Tom and endures a series of hardships such as a surprise attack and a sandstorm. This rather old fashioned, slow film is entirely predictable and tedious. Nothing can keep the audience interested despite the beautiful color photography of the desert or the excellent musical score by Ennio Morricone. ~ Linda Rasmussen, All Movie Guide
- Starring:
- Rutger Hauer, Carol Alt, (more)
