Behind the Scenes of Captain Apache (1971):

Lee Van Cleef, Acid Westerns, and a Genre at the Crossroads

By the early 1970s, the Spaghetti Western was changing fast. Audiences had seen the dust, the blood, and the operatic violence—and filmmakers were beginning to twist the genre into stranger, darker, sometimes downright surreal territory. Captain Apache sits right in the middle of that transition, a curious, often misunderstood western that stands out as one of Lee Van Cleef’s most unusual starring vehicles.

Lee Van Cleef Takes Center Stage

Unlike many of his iconic roles where he played a cold, almost mythic gunman, Captain Apache gave Lee Van Cleef something different: a lead role with dialogue-heavy scenes, introspection, and moral ambiguity. As Captain Apache, a U.S. Army officer of Native American descent investigating a political murder, Van Cleef carries the film almost entirely on his shoulders.

Behind the scenes, this was a significant step for Van Cleef. While he was already a major box-office draw in Europe, Captain Apache required him to balance genre expectations with a more psychological performance. It’s also one of the rare times he was asked to portray a character wrestling openly with identity, loyalty, and betrayal—far removed from the silent killers he was famous for.

A Western with Political Undertones

The film’s plot—centered around the assassination of a powerful political figure—leans closer to a conspiracy thriller than a traditional frontier tale. This wasn’t accidental. European westerns of the era were increasingly influenced by contemporary politics, Watergate-era paranoia, and disillusionment with authority.

Behind the scenes, the creative team leaned into this mood. Rather than sweeping heroics, Captain Apache emphasizes uncertainty and mistrust. Institutions are corrupt, allies are questionable, and justice is anything but clean. This thematic shift likely contributed to the film’s polarizing reception, especially among viewers expecting a straightforward shoot-’em-up.

A Multinational Production

Like many Spaghetti Westerns, Captain Apache was a multinational effort, blending European financing with American genre iconography. Filmed largely in Spain, the production relied on familiar Almería landscapes that had doubled for the American West countless times before. By 1971, these locations were well-worn, and the filmmakers compensated by focusing less on vistas and more on atmosphere.

The international cast and crew brought differing styles and expectations to the set. This sometimes resulted in tonal inconsistencies—one reason the film feels so unconventional—but it also gives Captain Apache its distinctive, slightly off-kilter energy.

That Infamous Musical Number

No behind-the-scenes discussion of Captain Apache would be complete without mentioning its most infamous element: the closing musical theme sung by Lee Van Cleef himself. The decision to have Van Cleef perform a vocal track baffled audiences then and continues to surprise viewers today.

Behind the scenes, this choice reflected a broader European trend of blending pop sensibilities with genre films. While the song has become a cult talking point—sometimes mocked, sometimes oddly admired—it perfectly encapsulates the film’s willingness to take risks, even at the expense of convention.

Reception and Reappraisal

Upon release, Captain Apache struggled to find its audience. Too strange for traditional western fans and too rooted in genre for mainstream drama viewers, it slipped into relative obscurity. Over time, however, the film has gained cult status among Spaghetti Western enthusiasts and Lee Van Cleef completists.

Today, many fans view Captain Apache as a fascinating artifact of a genre in flux—a western unafraid to question power, blur moral lines, and experiment with form.

Final Thoughts

Behind the scenes, Captain Apache represents both the strengths and excesses of late-era Spaghetti Westerns. It’s flawed, unconventional, and occasionally baffling—but it’s also bold, politically charged, and anchored by a committed performance from Lee Van Cleef.

For fans willing to venture beyond the genre’s greatest hits, Captain Apache remains a strange, compelling stop on the long, dusty road of European western cinema.

Behind the Scenes of Barquero (1970): Lee Van Cleef’s Rugged River Western

 

By the time Barquero reached theaters in 1970, Lee Van Cleef had already reinvented himself as a cult Western icon thanks to his Italian productions. Barquero stands as an interesting bridge between his European superstardom and his return to American-made Westerns—gritty, morally shaded, and quietly intense.

A Western Built Around a River

Unlike many Westerns that rely on wide-open plains or dusty frontier towns, Barquero is centered on a river crossing, with Van Cleef’s character, Travis, operating a ferry that becomes the story’s symbolic and literal battleground. This unusual setting shaped much of the film’s production.

Filming took place primarily in Colorado, where crews had to contend with fluctuating water levels, weather changes, and the practical challenges of staging action on boats. Scenes involving crossings, shootouts near the water, and nighttime sequences required careful coordination to keep equipment—and actors—safe.

The river itself becomes a character in the film, reinforcing themes of control, neutrality, and survival.

Lee Van Cleef: The Reluctant Hero

Behind the scenes, Van Cleef was known for his professionalism and quiet intensity. Unlike the flamboyant villains and antiheroes he played in spaghetti Westerns, Barquero gave him a more restrained role—one that relied on presence rather than flash.

Van Cleef reportedly appreciated the script’s moral ambiguity. Travis is not a traditional white-hat hero; he’s a man trying to stay neutral in a violent conflict, only to be pushed into action. This restraint aligned well with Van Cleef’s acting style at the time—minimal dialogue, expressive eyes, and controlled physicality.

His calm demeanor on set contrasted with the tension of the story, earning him respect from cast and crew alike.

Director Gordon Douglas and a No-Nonsense Approach

Veteran director Gordon Douglas brought efficiency and experience to the production. Known for working quickly and economically, Douglas focused on clear storytelling rather than stylistic excess. This approach suited Barquero, giving it a grounded, almost fatalistic tone.

Douglas emphasized practical effects and real locations, avoiding over-stylization. Gunfights were staged to feel sudden and brutal, rather than operatic, which gives the film its distinctive edge compared to contemporary Westerns.

Supporting Cast and Character Dynamics

The cast included Forrest Tucker and Warren Oates, both seasoned actors who brought depth to their antagonistic roles. Off camera, Oates in particular was known for his dedication to character work, often discussing motivations and backstory even when it wasn’t explicitly written into the script.

These conversations helped create the simmering tension that defines the film, especially in scenes where violence feels inevitable but delayed.

A Transitional Western

Behind the scenes, Barquero was very much a product of a changing era. By 1970, Westerns were evolving—becoming darker, more cynical, and less romanticized. The film reflects this shift, both in tone and production choices.

While not as stylized as Van Cleef’s Italian films, Barquero carries their influence: morally gray characters, measured pacing, and a sense that violence has lasting consequences.

Legacy and Cult Appreciation

Though Barquero didn’t make a major splash upon release, it has since gained appreciation among Western fans—especially those following Lee Van Cleef’s career arc. Behind the scenes, it represents a moment where Hollywood Westerns quietly absorbed the lessons of spaghetti Westerns without fully abandoning their roots.

Today, Barquero is remembered as a thoughtful, rugged entry in Van Cleef’s filmography—a film where setting, character, and restraint come together to create something enduring.

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.