Behind the Scenes of The Big Gundown (1966)

When The Big Gundown (La resa dei conti) was first released in Italy on December 23, 1966., it stood apart from many of the spaghetti westerns flooding European cinemas. Directed by Sergio Sollima and starring Lee Van Cleef and Tomas Milian, the film combined brutal action with sharp political commentary, helping redefine what the Italian western could be.

Rather than glorifying violence or mythologizing the gunfighter, The Big Gundown questioned authority, justice, and the morality of those empowered to enforce the law.

Sergio Sollima’s Political Vision

Director Sergio Sollima approached the western as a vehicle for social criticism. Unlike Sergio Leone’s operatic style, Sollima favored realism and ideological tension. Working from a script co-written with Franco Solinas, a screenwriter known for his left-leaning political views, the film explores themes of class oppression, corruption, and institutional injustice.

Sollima later stated that the western frontier mirrored modern societies where power was held by elites and violence was justified in the name of order. This perspective made The Big Gundown one of the most politically charged westerns of its era.

Lee Van Cleef: Authority Under Scrutiny

By 1966, Lee Van Cleef had become one of the most recognizable faces in European cinema. Cast as bounty hunter Jonathan Corbett, Van Cleef portrays a man confident in the law he serves—until that confidence begins to erode.

Behind the scenes, Van Cleef was known for his discipline and professionalism. Italian crew members frequently noted that he required minimal direction and brought a restrained intensity to his role. Sollima emphasized Corbett’s gradual moral awakening, encouraging Van Cleef to play the character with subtlety rather than bravado.

This marked one of Van Cleef’s most complex performances, moving beyond the cold professionalism seen in his earlier western roles.

Tomas Milian’s Unpredictable Cuchillo

In sharp contrast, Tomas Milian delivered a wildly energetic performance as Cuchillo, the peasant accused of rape and murder. Milian was notorious for his improvisational style, often altering dialogue and physical movements during filming.

Sollima embraced this chaos, believing it made Cuchillo more dangerous and more human. Milian’s unpredictable behavior created genuine tension on set, particularly during scenes with Van Cleef. That tension translates directly to the screen, fueling the film’s relentless momentum.

Filming in Spain and Italy

Production took place largely in Almería, Spain, a location already famous for its arid landscapes and rugged terrain. The harsh shooting conditions—intense heat, dust, and long days—added a raw physicality to the film. Interior scenes were completed in Italian studios, but Sollima insisted on extensive location shooting to maintain realism.

Unlike Leone’s carefully composed, almost abstract environments, Sollima’s landscapes feel hostile and unforgiving, reinforcing the film’s themes of pursuit and moral exhaustion.

Ennio Morricone’s Bold Score

Ennio Morricone’s music for The Big Gundown is among his most unconventional western scores. Featuring distorted vocals, whistling, and experimental instrumentation, the music often mocks traditional heroism.

Sollima granted Morricone significant creative freedom, resulting in a score that comments on the action rather than merely accompanying it. The music underscores the film’s cynicism and reinforces the moral ambiguity at the heart of the story.

Censorship and Alternate Versions

Upon international release, The Big Gundown suffered from censorship and heavy editing, particularly in the United States. Several politically explicit moments were trimmed, and some dialogue was altered in dubbing to soften the film’s critique of authority.

As a result, multiple versions of the film exist today, with the original Italian cut considered the most complete and ideologically consistent.

A Lasting Legacy

Today, The Big Gundown is widely regarded as one of the finest spaghetti westerns of the 1960s. It stands as a cornerstone of Sollima’s informal political western trilogy, alongside Day of Anger and Face to Face.

For Lee Van Cleef, the film represents a turning point—showcasing not just his iconic screen presence, but his ability to portray moral conflict and transformation. Decades later, The Big Gundown remains a powerful example of how the western genre could be both thrilling and intellectually challenging.

Behind the Scenes of Commandos (1968): Lee Van Cleef’s Forgotten War Epic

When fans talk about Lee Van Cleef, they usually jump straight to his legendary Spaghetti Westerns—For a Few Dollars More, The Good, the Bad and the Ugly, Sabata, Death Rides a Horse. But in 1968, right at the height of his fame in Italy, Van Cleef stepped away from the dusty frontier and into the middle of World War II for one of his most overlooked films: Commandos, a gritty Italian-Euro war movie directed by Armando Crispino.

Though it never reached the cult status of his Westerns, Commandos has an unexpectedly interesting production history. Here’s a look behind the curtain at how this unusual Lee Van Cleef project came together.

A Western Star Dropped Into WWII

By 1968, Lee Van Cleef was incredibly in demand in Europe. His stern features and quiet intensity made him a natural fit for western antiheroes, but producers also realized he could carry other genres—especially films set in harsh, dangerous terrain.

The Italian production company behind Commandos wanted a familiar, bankable American face to anchor a gritty war drama. Van Cleef’s rising popularity basically guaranteed international distribution. Even though war films were not his usual territory, he took the role for the challenge—and for the chance to avoid being typecast.

Behind the scenes, Van Cleef reportedly enjoyed the change of pace, especially the military-style precision required for the action scenes.

Filming in the Desert: Tunisia as WWII North Africa

While many Italian war films of the period were shot cheaply in Spain or rural Lazio, Commandos aimed for a more authentic look. Production moved to Tunisia, where the dunes, abandoned forts, and colonial-era architecture provided a convincing North African setting.

The desert, however, was not kind to the cast and crew:

• Temperatures on set frequently exceeded 110°F (43°C).

• Equipment overheated, and film reels had to be stored in shaded makeshift tents.

• Van Cleef, a heavy smoker, joked in interviews that the desert was the only place where “even a cigarette feels exhausted.”

The heat became such a problem that shooting schedules shifted to early mornings and late afternoons to avoid the worst of the sun.

Action Scenes on a Budget

Like many Italian “macaroni combat” films, Commandos pushed its limited budget to the limit.

• Real WWII vehicles were scarce, so mechanics modified trucks and jeeps to resemble period German and Italian hardware.

• Explosive effects were done practically with small charges buried in the sand—something that required careful coordination and occasionally startled cast members when the timing wasn’t perfect.

• Because Tunisia had leftover WWII equipment scattered in remote areas, the production actually purchased and repurposed some authentic items.

Van Cleef, known for doing many of his own action moments, participated closely in choreographed firefights. Crew members later noted that he handled weapons confidently thanks to his long history of Western stunt work.

Director Armando Crispino’s Ambitious Vision

Armando Crispino, later known for cult horror films (The Etruscan Kills Again, Autopsy), approached Commandos with more ambition than most wartime B-pictures of the era.

He wanted the film to feel tense and morally gray, steering away from gung-ho patriotism. Crispino pushed for:

• A gritty, dirty battlefield look

• Low-key character conflict rather than heroic speeches

• Realistic portrayals of soldiers under stress

This often led to long discussions between Crispino and Van Cleef, who brought his own ideas about toughness, guilt, and leadership. Despite occasional disagreements, both respected each other, and their collaboration gave the film its more serious tone.

The International Cast and On-Set Culture Clash

As with many Italian co-productions of the 1960s, Commandos featured actors from all over Europe and the U.S.—each speaking their own language during filming. Dialogue was dubbed in post-production anyway.

The mix of Italian, American, German, and Yugoslav crew members created occasional communication hiccups, but it also made the set lively. Cast members recalled:

• Long communal dinners after shooting

• Card games and wine-filled evenings

• A playful divide between the “Western guys” who idolized Van Cleef and the European dramatic actors who approached scenes more theatrically

Van Cleef, who didn’t speak much Italian, often communicated with gestures, humor, and that unmistakable stare.

A Film Overshadowed by Spaghetti Westerns

When the movie was released, it performed respectably in Europe but barely registered in the U.S. It arrived at a time when Lee Van Cleef’s identity was firmly cemented in the Western genre. Fans expecting another gunslinger film weren’t quite sure what to make of him in desert fatigues.

Still, Commandos found a second life on late-night television in the 70s and 80s, and today it occupies a special niche in Van Cleef’s career—an example of what he could do outside the saddle.

Why Commandos Matters Today

It may not be his most famous movie, but Commandos shows Lee Van Cleef experimenting, stretching his range, and tackling a tough, physically demanding shoot. It also represents the fascinating moment when Italian cinema was trying to blend Hollywood action with European filmmaking grit.

For Van Cleef fans, it’s a unique snapshot of a superstar during his most prolific years—working hard, sweating in the desert, and giving even a modest war film his trademark intensity.

Behind the Scenes of Day of Anger (1967): Inside a Spaghetti Western Classic

 

Few spaghetti westerns outside the Sergio Leone canon have earned the affection and staying power of Day of Anger. Released in 1967 and starring the unbeatable pairing of Lee Van Cleef and Giuliano Gemma, the film delivered gunfights, grit, and an unexpectedly emotional story. But behind the camera, the production was just as fascinating. Here’s a deep look behind the scenes of how this cult classic came together.

Tonino Valerii Steps Out of Sergio Leone’s Shadow

Director Tonino Valerii had served as assistant director on A Fistful of Dollars and For a Few Dollars More, and Day of Anger became his chance to prove he could craft a western with his own identity. Instead of Leone’s operatic, wide-angle grandeur, Valerii aimed for a more character-driven story—focused on the mentorship and moral unraveling of its two leads.

Many crew members later said that Valerii approached the production with something to prove, and his meticulous planning shows in the film’s tight storytelling and carefully staged shootouts.

The Mentor and the Kid: Perfect Casting

Lee Van Cleef

At the time, Van Cleef was one of Italy’s biggest imported stars. Producers even delayed filming until he was available. Van Cleef had significant input on how his character Frank Talby should appear—insisting on refined attire, precise gun-handling, and a calm but intimidating presence. He wanted Talby to feel like a man who had perfected the “art” of being a gunslinger.

Giuliano Gemma

Gemma was already a major Italian star, famous for his athleticism and stunt skills. He performed much of his own action work, including riding and acrobatic movements during shootouts. Valerii built the character of Scott Mary around these strengths, letting Gemma’s physicality shine while showing the transformation from stable-boy to deadly gunfighter.

Filming in the Dusty Heart of Almería

Like many spaghetti westerns of the era, Day of Anger was shot in Almería, Spain—a desert landscape that doubled as the American frontier for dozens of Italian productions.

A few behind-the-scenes highlights:

• Many town sets came directly from earlier Leone films.

• Valerii intentionally shot from different angles to avoid repeating Leone’s iconic compositions.

• Persistent dust storms caused continuity headaches; Gemma’s costume aged too quickly between takes, forcing reshoots.

Despite budget limitations, the crew made strong use of existing sets and natural light, giving the film a distinctive, gritty texture.

Stunts and Gunfights: Precision Over Flash

Stunt coordinator Roberto Dell’Acqua designed the gunfights with speed and efficiency in mind. Valerii wanted the violence to feel sharp and purposeful, emphasizing quick-draw duels over chaotic shootouts.

Gemma’s athleticism created unexpected challenges—he sometimes moved so fast that camera operators had difficulty keeping him centered in frame. Several scenes were re-blocked to match his pace.

Riz Ortolani’s Sweeping Musical Score

Composer Riz Ortolani gave the film a musical identity very different from Ennio Morricone’s trademark sound dominating the genre at the time. Ortolani blended bold orchestral themes with traditional western influences, creating a soundtrack that felt grand and emotional.

Valerii later credited Ortolani’s music for elevating several scenes beyond what he had originally envisioned.

Multiple Cuts for Different Markets

Like many Italian westerns, Day of Anger went through several edits:

• The Italian cut runs longer, with more character development.

• The international cut trims about 15 minutes and tightens action scenes.

When the restoration team at Arrow Video revisited the film decades later, they found that each negative source reflected slight editing differences—evidence that producers continued adjusting the film long after its initial release.

Lee Van Cleef: A Pro on Set

Behind the camera, Van Cleef was known for being professional, punctual, and friendly. He enjoyed working in Europe and often offered on-set advice to Gemma, particularly on timing and screen presence during two-shots.

One fun anecdote:
Van Cleef enjoyed practicing gun spins between takes and tried to pass some of the technique on to Gemma. After realizing Gemma’s revolver was much lighter, Van Cleef joked, “His is a toy—mine’s the real gun.”

A Cult Classic That Endures

While it didn’t initially receive the same attention as the Leone masterpieces, Day of Anger has earned a dedicated following over the decades. Today it’s widely regarded as:

• Tonino Valerii’s finest western

• One of Van Cleef’s strongest performances outside Leone’s films

• A defining example of the “mentor and protégé” narrative in spaghetti westerns

Thanks to modern restorations, the film looks better than ever and continues to gain new fans discovering its blend of style, tension, and heart.