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.