Behind the Scenes of Thieves of Fortune (1989)

For followers of cult cinema, Thieves of Fortune (also known as Chameleon or Mexican Jackpot) holds a bittersweet place in film history. Released in 1990, it stands as the final film role for the legendary Lee Van Cleef, appearing on screens shortly after his passing in late 1989.

While the film is a globe-trotting adventure centered on a $28 million inheritance race, the real treasure for fans is seeing Van Cleef command the screen one last time. Here’s a look at the behind-the-scenes world of his final production.

The Patriarch of the Fortune

In Thieves of Fortune, Van Cleef plays Don Sergio Danielo Christophoro, the wealthy eccentric whose death (and complex will) triggers the film's frantic treasure hunt.

• A Poignant Performance: In a case of life imitating art, Van Cleef’s character is an aging patriarch looking back on his legacy. Despite his health challenges during filming, he brought a refined, regal dignity to Don Sergio. It was a departure from his usual "heavy" or "mercenary" roles, allowing him to play a man of immense stature and wealth.

• The Final Reel: This was the last time Van Cleef stood before a camera. For a man who built a career on being the ultimate survivor—from the dusty streets of Sergio Leone’s West to the dystopian ruins of Manhattan—seeing him play a character at peace, reconciling with old friends (like Michael Nouri’s character), provided a fitting cinematic goodbye.

Production Trivia: A Global Scavenger Hunt

Directed by Michael MacCarthy, the production was an ambitious South African-American collaboration. The "scavenger hunt" plot allowed the crew to utilize diverse and rugged locations to give the low-budget film a grander, international feel.

• South African Backdrops: Much of the "Mexican" and desert scenery was actually filmed in South Africa. The production leveraged the country's varied terrain to stand in for multiple global locations, a common tactic for action films of that era seeking high production value on a modest budget.

• Stunts and Spectacle: The film leaned heavily into the "adventure" craze of the late 80s, featuring everything from plane stunts and motorcycle chases to alligator wrestling. While Shawn Weatherly (a former Miss Universe) handled the physical heavy lifting, Van Cleef served as the narrative's gravity—the "eye of the storm" around which the chaos revolved.

• A "Boutique" Ensemble: The cast was a classic 80s mix, featuring Michael Nouri (Flashdance) and Shawn Weatherly. Behind the scenes, the cast and crew were well aware of the honor of working with a Hollywood legend. Nouri often spoke of the quiet authority Van Cleef brought to the set, noting that when Lee spoke, everyone—from the director to the grips—listened.

The Aesthetic: 1980s Adventure Grain

Thieves of Fortune carries that unmistakable late-80s film stock look—saturated colors, heavy grain in the outdoor sequences, and a synth-driven atmosphere.

The cinematographers made sure to treat Van Cleef’s final appearance with reverence. Even in his 60s, those "Angel Eyes" were as sharp as ever. The camera often lingered on his face during his monologues about the fortune, capturing the weathered texture of a man who had seen it all.

Legacy of a Legend

Thieves of Fortune might not have the mainstream recognition of The Good, the Bad and the Ugly, but for those who appreciate the full arc of Lee Van Cleef's career, it is an essential watch. It marks the end of an era—the final performance of a man who bridged the gap between the Golden Age of Hollywood and the explosion of international cult cinema.

Behind the Scenes of The Commander (1988)

By the late 1980s, the "Man with the piercing eyes" had transitioned from the dusty trails of Almería to the humid jungles of Southeast Asia, becoming a staple of the Italian-produced "Macaroni Combat" genre. In 1988, he teamed up once again with the master of low-budget spectacle, Antonio Margheriti, for the high-octane mercenary flick, The Commander (originally Der Commando). Today, we’re going behind the lens to see how this screen legend handled one of his final action roles. 

By 1988, the "Mercenary on a Mission" subgenre was in full swing. The Commander followed a group of soldiers of fortune sent into the Golden Triangle to destroy a heroin factory. While the film featured younger leads like Lewis Collins, it was the presence of Lee Van Cleef as Colonel Mazzarini that gave the movie its weight and "cool factor." 

Even at 63, and despite the health issues that would claim his life only a year later, Van Cleef was the heartbeat of the production. Unlike his more physical roles in the 60s, Van Cleef’s Mazzarini was the strategist. Much of his filming took place in "command center" sets. Crew members recalled that Lee didn't need to run through the jungle to be intimidating; he could dominate a room just by leaning over a map and squinting through his signature smoke. 

This was Van Cleef’s final collaboration with director Antonio Margheriti. Their shorthand allowed the production to move at lightning speed—essential for an Italian B-movie with a tight budget.

Despite the sweltering heat of the Philippines locations, Van Cleef remained a "one-take wonder." He was known for having his lines memorized and his blocking perfect, a trait that endeared him to the hardworking Italian crew.

The Commander would be one of Lee Van Cleef's final film appearances before his passing in 1989. While the movie is a wild, explosion-filled ride, there is a certain poignancy in watching Lee on screen. He brought a sense of dignity to a genre that was often chaotic. For fans of Van Cleef, The Commander isn't just an action movie—it’s a final masterclass in screen presence. He proved that you don't need a horse or a poncho to be the toughest man in the room; you just need that look.

New Soundtrack - Day of Anger 2 Disc Edition from Quartet

Just released from Quartet Records!

Quartet Records, in collaboration with GDM and Universal Music Publishing Italy, celebrates the centenary of Maestro Riz Ortolani with the ultimate edition of his classic, killer score for DAY OF ANGER (I giorni dell’ira, 1967), an iconic spaghetti western directed by Tonino Valerii and starring Lee Van Cleef and Giuliano Gemma. The film, one of the most beloved by fans of the genre, is about a scruffy street sweeper who becomes the pupil of a famed gunfighter, and the stage for confrontation is set when the gunman overruns the boy’s town through violence and corruption.

Riz Ortolani’ score finds him at the height of his creative powers, blending sweeping orchestral themes, tense action motifs and moments of surprising lyrical beauty into a uniquely sophisticated musical experience.

While Ennio Morricone’s influence often dominates discussions of music for Italian westerns, Ortolani’s approach to DAY OF ANGER reveals a distinct voice—elegant, dramatic and melodic. The unforgettable main theme (rediscovered by Tarantino and included in his film Django Unchained) captures the film’s atmosphere of revenge, ambition and moral conflict, while recurring motifs demonstrate the composer’s remarkable ability to balance raw tension with emotional depth.

Albums were released by RCA in 1967 in mono (the Italian LP) and stereo (the U.S. edition). Both featured the same track listing, though with different mixes, takes and edits on some tracks. That LP program was subsequently released on CD, but always in the Italian mono version until the two most recent reissues, which also included the film score in stereo. For this new 2-CD edition, we have included the complete score in stereo, in addition to the mono and stereo albums, from their respective original elements. The audio for this release (supervised by Claudio Fuiano) has been restored and mastered by Chris Malone; the package includes an essay by Jeff Bond.

This soundtrack remains an essential chapter in the history of the Italian western and a shining example of Riz Ortolani’s extraordinary legacy as one of Europe’s greatest film composers.

ORDER HERE
https://quartetrecords.com/product/day-of-anger-2-cd/

 

Tracklist-

DISC 1. 

THE ORIGINAL ALBUM (STEREO)

1. I Giorni Dell’Ira 3:07

2. Senza Pietà 2:21

3. Una notte serena 2:49

4. L’arma del killer 1:29

5. Fino all’ultimo colpo 2:56

6. I Giorni Dell’Ira (#2) 1:21

7. Fino all’ultimo colpo (#2) 3:00

8. Violenza, odio 1:34

9. Una notte serena (#2) 3:34

10. Un uomo forte 2:28

11. Fino all’ultimo colpo (#3) 1:26

THE ORIGINAL ALBUM (MONO)

12. I Giorni Dell’Ira 3:07

13. Senza pietà 2:21

14. Una notte serena 2:49

15. L’arma del killer 1:29

16. Fino all’ultimo colpo 2:56

17. I Giorni Dell’Ira (#2) 1:21

18. Fino all’ultimo colpo (#2) 3:00

19. Violenza, odio 1:34

20. Una notte serena (#2) 3:34

21. Un uomo forte 2:28

22. Fino all’ultimo colpo (#3) 1:26

Total Disc Time: 52:02

DISC 2. THE FILM SCORE (STEREO)

1. I Giorni Dell’Ira (#3) (Original Main Titles) 3:08

2. Una notte serena (#3) 2:50

3. L’arma del Killer (#2) 1:30

4. I Giorni Dell’Ira (#4 Saloon) 1:46

5. I Giorni Dell’Ira (#5) 1:49

6. Violenza, odio (#2) 1:28

7. Fino all’ultimo colpo (#4) 2:56

8. I Giorni Dell’Ira (#6) 1:22

9. I Giorni Dell’Ira (#7) 1:21

10. I Giorni Dell’Ira (#8 Saloon) 1:20

11. Violenza, odio (#3) 1:14

12. Una notte serena (#4) 2:05

13. Senza pietà (#2) 1:19

14. Un uomo forte (#2) 2:30

15. Violenza, odio (#4) 0:51

16. Fino all’ultimo colpo (#5) 3:01

17. I Giorni Dell’Ira (#9) 1:56

18. Una notte serena (#5 Harmonica) 1:28

19. I Giorni Dell’Ira (#10) 1:25

20. Violenza, odio (#5) 1:40

21. Fino all’ultimo colpo (#6) 1:25

22. Una Notte Serena (#6) 2:52

23. L’arma del killer (#3) 1:49

24. Una notte serena (#7 Harmonica) 1:16

25. I Giorni Dell’Ira (#11) 1:51

26. I Giorni Dell’Ira (#12) 1:56

27. Una notte serena (#8) 1:50

28. I Giorni Dell’Ira (#13) 1:04

29. I Giorni Dell’Ira (#14 Demo Song) 2:11

Total Disc Time: 53:12

Total 2-CD Time: 105:14