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:
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Many town sets came directly from earlier Leone films.
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Valerii intentionally shot from different angles to avoid repeating Leone’s iconic compositions.
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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:
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The Italian cut runs longer, with more character development.
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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:
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Tonino Valerii’s finest western
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One of Van Cleef’s strongest performances outside Leone’s films
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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.
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