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.

Behind the Scenes of Death Rides a Horse (1967)

When fans talk about the golden age of Spaghetti Westerns, Death Rides a Horse (1967) always gallops into the conversation. Directed by Giulio Petroni and starring Lee Van Cleef and John Phillip Law, the film stands out for its moody atmosphere, stylish cinematography, and one of Ennio Morricone’s most haunting revenge-themed scores. But the story behind the film’s production is just as intriguing as the movie itself.

A Director with a Bold Vision

Giulio Petroni wasn’t as widely known as Sergio Leone, but he brought his own sharp eye and political sensibility to the genre. During filming, Petroni pushed for a more psychological approach to the story—focusing on memory, trauma, and the uneasy partnership between an older outlaw and a young man bent on revenge.

Petroni and Van Cleef reportedly enjoyed a strong working relationship, with Van Cleef appreciating Petroni’s willingness to let him shape the character of Ryan into a world-weary mentor figure rather than a typical gunslinger.

Lee Van Cleef at His Post-Leone Peak

Fresh off his international breakthrough in Leone’s films, Lee Van Cleef was now a marquee star in Europe. On set, he was known for his professionalism and calm demeanor. Italian crew members often mentioned that Van Cleef preferred to stay focused between takes, conserving energy for the film’s demanding riding and action sequences.

Despite knee issues that bothered him throughout the late 1960s, Van Cleef insisted on doing much of his own riding, adding authenticity to the film’s rugged tone.

John Phillip Law’s First Ride into the West

This film was John Phillip Law’s first Spaghetti Western, and he approached the role of Bill with a surprising level of seriousness. Cast partly because of his intense eyes and stoic expression, Law trained with horses and firearms before filming began.

Law later mentioned in interviews that he and Van Cleef barely spoke off-camera—something fans have speculated helped enhance their on-screen tension. However, both actors respected each other and worked together seamlessly.

Filming in the Wild Landscapes of Almería

Like many iconic Italian Westerns, Death Rides a Horse was shot in the desert landscapes of Almería, Spain. The region’s dry terrain, isolated hills, and abandoned mining towns provided the perfect visual backdrop for Bill’s journey of vengeance.

Production faced the typical problems of desert shoots:

• blistering heat during the day,

• freezing winds in the evenings,

• and dust storms that sometimes halted production for hours.

Still, the crew made creative use of the harsh environment. Many of the wide shots—especially the scenes of Bill tracking his memories in fragmented flashbacks—benefited from Almería’s vast, empty horizons.

Morricone’s Score: A Soundtrack with a Life of Its Own

One of the film’s most enduring legacies is its Morricone soundtrack. The composer created a unique blend of eerie chimes, rhythmic guitars, and a lonely vocal motif that would later be sampled in Quentin Tarantino’s Kill Bill.

During recording, Morricone experimented with unusual percussion and echo effects to give the flashback scenes a dreamlike, almost ghostly quality. Even Petroni admitted the score elevated the film far beyond what was on the page.

The Flashback Technique

The movie’s use of stylized flashbacks—distorted visuals, close-ups of key objects, and dramatic lighting—was innovative for the genre at the time. These sequences were filmed with special filters and gels to enhance the feverish sense of trauma and memory.

Petroni reportedly spent more time on these scenes than any other part of the film. The goal: make the audience feel Bill’s childhood memories as fragmented, painful snapshots rather than clear recollections.

A Cult Legacy

While Death Rides a Horse wasn’t the biggest box-office hit of its day, it steadily grew into a cult favorite. Home-video releases in the 1980s and 1990s introduced new fans to its stylish action, morally complex characters, and unforgettable score.

Today, the film is considered one of Lee Van Cleef’s finest post-Leone Westerns and a defining work of Giulio Petroni’s career.

Behind the Scenes of Return of Sabata (1971): Lee Van Cleef Rides Again

When Return of Sabata hit screens in 1971, audiences were eager to see Lee Van Cleef return to one of his most iconic spaghetti western roles. The movie is often remembered for its flashy gadgets, circus-style acrobatics, and playful tone — but behind the scenes, the film’s creation was just as wild, inventive, and unpredictable as Sabata’s trick weapons.

Here’s a deep dive into the production history, filming secrets, and creative decisions that shaped the final chapter of the Sabata trilogy.

Why Return of Sabata Was Made

The first Sabata (1969) was a major international success for United Artists. Its follow-up, Adiós, Sabata, kept the momentum going — even though Van Cleef was replaced by Yul Brynner due to scheduling issues.

With both films performing well, United Artists wanted the “real Sabata” back, leading to the creation of Return of Sabata. From the start, the movie was designed to bring Van Cleef front-and-center with a more comedic, crowd-pleasing tone aimed at drive-in audiences.

Where the Film Was Shot

Like most spaghetti westerns of the era, Return of Sabata was filmed across a mix of European locations, including:

• Elios Studios (Rome) — the primary western town sets

• Parts of Yugoslavia (modern-day Croatia) — chosen for inexpensive outdoor landscapes

• Spanish co-production zones — used to match earlier spaghetti western visuals

The blending of locations explains why certain buildings and street layouts change noticeably between scenes.

Lee Van Cleef’s Return to the Role

Van Cleef reportedly enjoyed stepping back into Sabata’s signature black attire — but he also made a few requests while filming:

• His long black coat from the first film was rebuilt with lighter fabric, after he complained about the weight during action scenes.

• Van Cleef had input on the design of Sabata’s multi-barrel rifle, pushing for mechanics that looked believable on-screen.

• Several of his deadpan reactions during the circus troupe sequences were improvised, adding to the film’s playful tone.

Despite the comedic elements, Van Cleef took the role seriously and treated Sabata as a cunning professional with an odd sense of humor.

The Real Circus Performers Behind the Acrobat Characters

Director Gianfranco Parolini loved using acrobatics in his films — a style visible in the first Sabata as well as his earlier Kommissar X movies.

For Return of Sabata, he hired actual Italian circus performers to portray the tumbling, flipping, rooftop-hopping townsfolk. This added authenticity and allowed the team to film big physical stunts quickly and on a tight budget.

Gadgets, Trick Guns & Practical Effects

No Sabata film is complete without outrageous weaponry. Behind the scenes, the prop department built a collection of custom mechanical gadgets, including:

• The folding, multi-shot rifle

• A specially engineered multi-barrel derringer

• Sabata’s spring-loaded gun belt

Each of these props required multiple duplicates because they frequently broke during stunts. Pyrotechnics were all practical, with large charges being triggered manually — sometimes coming too close for comfort.

A Shift Toward Comedy and Color

United Artists aimed the film at the booming drive-in market, which was hungry for Westerns that were lighter, faster, and funnier. This influenced several creative choices:

• brighter lighting

• more exaggerated side characters

• slapstick comedy woven into action scenes

• a colorful, more theatrical visual style

Parolini described his approach as trying to create a “Western comic book come alive.”

The Money Theme Came From Real Production Problems

A major storyline in the movie revolves around corrupt town officials, debts, scams, and everyone being broke.

This wasn’t just fiction — it mirrored real production issues:

• Budget arguments between the Italian producers and the Yugoslav location managers

• United Artists enforcing strict spending caps

• Crew members joking that “Sabata isn’t the only one counting every dollar.”

Because of these ongoing money conflicts, Parolini leaned even harder into the theme, making financial grift an integral part of the movie’s plot.

Marcello Giombini’s Experimental Score

Composer Marcello Giombini returned with a score that mixed traditional Western rhythms with early synthesizer textures. At the time, using synths in a Western was unusual, but Giombini argued that Sabata — with his gadgets and mechanical genius — needed music that sounded inventive and tinkerer-like.

The end result is one of the trilogy’s most distinct and playful soundtracks.

The Final Ride for Sabata

Although Return of Sabata ends with the door wide open for more adventures, this film marked the final appearance of Lee Van Cleef as the iconic bounty hunter.

By 1972, Italian Westerns were declining, United Artists shifted focus to other genres, and the Sabata trilogy concluded with this colorful, gadget-filled farewell.