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.

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.