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 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).
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.
A new book by film critic Massimo Moscati, “Lee Van Cleef. The Best of the Villains,” explores how the American actor found redemption and immortality in the spaghetti westerns of Sergio Leone, transforming from supporting player to cult icon at Cinecittà.
An icon of the spaghetti western, Lee Van Cleef remains one of cinema’s most unforgettable “bad guys.” The new book “Lee Van Cleef. The Best of the Villains” by author and journalist Massimo Moscati, published by the Piacenza-based press Le Piccole Pagine, delves deep into both the myth and the man behind those steely eyes.
Moscati — a member of the National Union of Italian Film Critics, editorial director, and lecturer at Milan’s Civic School of Cinema Luchino Visconti — paints a portrait of Van Cleef that goes beyond the screen persona of the menacing gunslinger. The book celebrates the unforgettable Colonel Mortimer from Sergio Leone’s For a Few Dollars More — one of Van Cleef’s greatest cinematic triumphs.
“We owe Italy the credit for giving him roles suited to his talent, transforming him into a cult figure,” Moscati writes in the preface.
Resisting Hollywood’s pigeonholing, Van Cleef tirelessly pursued his craft, and when his career seemed at a standstill, he reinvented himself. Through his collaborations in Italy, he carved out a place in film history as the quintessential western antihero.
Before becoming a cinematic icon, Van Cleef served as a naval operator during World War II and later began acting on stage. His film debut came in 1951 when director Fred Zinnemann cast him in High Noon, alongside Gary Cooper and Grace Kelly — a small role that would nonetheless lead to a remarkable journey.
Even though he had no lines in that film, his piercing gaze and silent intensity became his signature. “He gave Hollywood’s idea of evil a European depth,” Moscati observes — a depth that left a lasting impression on audiences.
In the decade that followed, Van Cleef struggled in America, often relegated to secondary roles and battling frustration that led to dependence on alcohol. Redemption came in 1965, when Sergio Leone cast him as Colonel Mortimer in For a Few Dollars More, followed by The Good, the Bad and the Ugly in 1966.
With these roles, Van Cleef entered the pantheon of spaghetti western legends — a Hollywood actor reborn in Cinecittà. Moscati’s book examines not only his cinematic career but also the man behind the legend: a disciplined craftsman, a survivor, and an artist who found his true self in Italy’s western frontier.
“Under Leone’s direction,” Moscati concludes, “Van Cleef rediscovered himself, creating a gallery of unforgettable characters.”
Book Details
Lee Van Cleef. Il migliore dei cattivi
By Massimo Moscati
Published by Le Piccole Pagine
