Behind the Scenes of Sabata (1969): Lee Van Cleef’s Gadget-Packed Spaghetti Western Classic

When Italian director Gianfranco Parolini (credited as Frank Kramer) released Sabata in 1969, he wasn’t just making another spaghetti western—he was inventing a new kind of gunslinger. Stylish, gadget-laden, and just a little tongue-in-cheek, Sabata gave Lee Van Cleef one of his most iconic roles and kicked off a trilogy that’s still beloved by fans of the genre.

A New Kind of Western Hero

By the time Sabata went into production, Van Cleef was already a familiar face to audiences thanks to For a Few Dollars More and The Good, the Bad and the Ugly. But Parolini and producer Alberto Grimaldi wanted something different—less grim, more inventive, and full of personality.

The result was a mysterious gunfighter with an arsenal of trick weapons and a sharp sense of style.

Parolini had just found success with If You Meet Sartana, Pray for Your Death, and Grimaldi pushed him to create another anti-hero cut from the same cloth. Thus, Sabata was born.

Filming and Production

Like many spaghetti westerns, Sabata was shot primarily in Spain and Italy, with sweeping desert landscapes and small western towns built for the genre boom of the late 1960s.
Cinematographer Alessandro Mancori and editor Edmondo Lozzi gave the film its crisp, dynamic look—mixing wide panoramas with sudden close-ups, echoing the style popularized by Sergio Leone.

The cast included:

• Lee Van Cleef as Sabata

• William Berger as Banjo, the musician with a deadly secret

• Franco Ressel as the corrupt land baron Stengel

• Ignazio Spalla and Aldo Cantarini providing the acrobatics and comic energy

Gadgets, Acrobats, and a Banjo with a Bullet

One of Sabata’s most memorable trademarks is its over-the-top gadgetry.
There’s a gun hidden inside a banjo, spring-loaded pistols, and elaborate traps that would make James Bond proud. Parolini’s use of these gimmicks added a lighthearted energy that set Sabata apart from the darker tone of other spaghetti westerns.

The movie even opens with a daring acrobatic heist, featuring thieves vaulting over wagons and rooftops—a sequence that established the circus-like action style that became a Parolini signature.

Tone and Style

Critics and fans alike have called Sabata a “comic-book western.”
While the dubbing and sound effects sometimes verge on camp, the film’s playful attitude works perfectly with Van Cleef’s stoic presence. As one reviewer noted, “It’s crazy how well the campiness of the script compliments how serious Lee Van Cleef is.”

That balance between parody and professionalism helped Sabata become one of the most memorable spaghetti westerns of its time.

Reception and Legacy

Upon release, Sabata was a hit—reportedly performing even better at the box office than Parolini’s Sartana films. It spawned two sequels:

• Adiós, Sabata (1970) – starring Yul Brynner

• Return of Sabata (1971) – reuniting Lee Van Cleef with Parolini

Today, Sabata stands as one of the defining entries in the late-era spaghetti western boom—a mix of style, satire, and sharpshooting ingenuity.

The Enduring Appeal

Over 50 years later, Sabata continues to inspire fans and filmmakers alike. Its blend of gadget-driven action, playful tone, and iconic Lee Van Cleef swagger remains irresistible.
It’s a western that refuses to take itself too seriously—and that’s exactly why it endures.

Albi dell’Intrepido - March 1968

This is a vintage Italian comic magazine cover from the series Albi dell’Intrepido, specifically issue No. 1200 dated March 27, 1968. The title on the cover is MONITO.  

The magazine itself, Albi dell’Intrepido, was part of a long-running Italian publication known for serialized adventure stories, comics, and pop-culture features. This issue likely celebrated Van Cleef’s iconic status in Italy, where he was a major star thanks to his collaborations with Italian filmmakers.

Behind the Scenes of El Condor (1970): The Giant Fortress, a Fistfight, and Lee Van Cleef's Comic Turn

El Condor (1970), starring Lee Van Cleef and Jim Brown, is an often-overlooked but utterly spectacular Western. A hybrid of the American action movie and the Spaghetti Western genre, its production was as explosive as its on-screen fortress assault, defined by a colossal, reusable set, backstage drama, and a rare comedic role for Van Cleef.

The Fortress that Became a Star 

The film's most remarkable feature wasn't the actors, but the incredible fortress they sought to conquer:

• A Colossal, Purpose-Built Set: The massive Fuerte El Condor was built from scratch in the Tabernas Desert of Almería, Spain, a favorite location for Spaghetti Westerns. Designed by art director Julio Molina de Juanes, the complex featured 30-foot adobe walls, stables, and a two-story palace. The construction took about two months.

• A Script Rewrite for the Scenery: The set was so huge and impressive that screenwriter Larry Cohen was reportedly asked to rewrite the entire plot to focus the action around the fortress. The goal was to ensure the film maximized the visual impact of the colossal construction.

• Cinematic Legacy: The fort's spectacular nature—and its explosive destruction—meant it was too valuable to use just once. It became a piece of movie history, a reusable set for future productions including the war film A Reason to Live, a Reason to Die (1972) and even making a brief appearance in Conan the Barbarian (1982).

Conflict, Comedy, and Controversy

While Jim Brown and Lee Van Cleef formed an engaging, if untrustworthy, partnership on screen, behind the camera, things were less harmonious, and the casting was a major risk.

• A Director-Producer Brawl: The set was plagued by tension between director John Guillermin and producer Andre de Toth. According to Larry Cohen, de Toth, who had directorial ambitions, constantly clashed with Guillermin. This professional conflict reportedly escalated into a fistfight during filming.

• Lee Van Cleef's Unexpected Role: Van Cleef was a worldwide star known for playing ruthless, ice-cold villains ("Angel Eyes"). He initially quit the film after an associate advised him that the role of Jaroo, a drunken, buffoonish prospector, was "ridiculous" and would damage his career. Cohen personally talked him back into the part, arguing it was a chance to play a comedic scoundrel in the vein of a Humphrey Bogart character. Van Cleef ultimately delivered a memorable, uncharacteristically grinning performance, showcasing his range.

• The R-Rated Stunt: The film made headlines for its explicit content, notably the extended scene where the General's mistress, Claudine (Marianna Hill), strips completely naked in her window to distract the garrison. This use of spectacle, violence, and sex earned the film its R-rating and fueled critical debates about the new "nihilistic" wave of Westerns.

Despite the on-set drama and the harsh critical reaction at the time—with critics like Roger Ebert condemning its "stupidity" and "cynical violence"—El Condor remains a thrilling, large-scale entry in the Western genre, memorable above all for its impressive set and the rare chance to see Lee Van Cleef lighten up.