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.

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.