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I like the storyline of this show,it attract me so much

You won't be disappointed!

Surprisingly incoherent and boring

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Films like great paintings, are there for us to view, experience, and interpret.  This go round, watching I think it finally all clicked. This is my interpretation.  A truly Mythic Western, an amalgamation of American Western Legend and Myth, Greco-Roman Mythology, and a touch of Catholic theology. Darkness, we enter the Dreamscape from darkness, the roar of time floods your ears and you see a sliver of a crack in the continuum of the universe. Through it we see a horseman punctuated with now the sounds and sights other human artifacts, we cut to frantic hands combing through the debris of humanity. The rider is in a Dream/Ghost town or perhaps Limbus. The hands belong to a Witch/Medicine Woman/Fate and she clutches discarded treasures that she loads on her barrow. She spots the rider and hides. As he passes she calls out a question "Why did you come back? Why did you come back?" So begins KeomaThe De Angelis brothers' weird soundtrack, especially the female voice now suggests an eerie Native American chant and whole film has a dreamworld atmosphere constantly enhanced by the incredible cinematography reinforcing the tone of this last of the great operatic Spaghetti Westerns. A good companion piece to Jodorowsky's El Topo.

This work follows the classic westerns of Europe, has a beautiful script centered on the figure of non-heroes, a maximum characteristic of the Italian directors who gave a new energy to this type of film, breaking the American image of alienated heroes, defenders of the good hypocrites and customs of the old way of insisting that everything is out of this circle is the enemy (especially any external culture) that is usually a threat and deserves destruction. The movie soundtrack is perfect. Dark, moody, charming, with an instrumental technique and a level of composition that makes this title quite homogeneous. The characters fit perfectly for each actor especially in relation to Franco Nero, William Berger and Olga Karlatos.

This is one of the great spaghetti westerns. Franco Nero puts in what is perhaps his best performance ever, and it's great to see that his voice is not dubbed by someone else here. This is an action packed, gut wrenching, on the edge of your seat western from start to finish. It also has all the style, symbolism, and violence one could ask for from a spaghetti western, and then some.This film has been criticized for a few different reasons, and I feel compelled to address a couple of those comments. The number one topic for discussion seems to be the soundtrack. Yes the soundtrack is a bit strange, but so is the movie, so in a way it's fitting. Personally, I think it's kind of hit and miss, but it works for the most part. I really like the female vocals. Her voice has a creepy, melancholy, and otherworldly quality to it that matches the film perfectly. The male vocals, on the other hand, sounded like an Italian muppet to me at first. Perhaps the cookie monster. I do have to say though that I just watched the film for the third time and the guy doesn't sound nearly as bad to me as he did the first time. This is a damn good movie anyway, regardless of whether or not one likes the soundtrack.Another criticism I've heard is that Franco Nero plays an Indian with an Italian accent. First of all, this kind of thing is very common in films. Think of all the Romans, Greeks, Martians, etc. that have had English or American accents in the movies. This is no different except that in this movie it actually adds to the characterization of Keoma. He is an outsider, and the fact that his accent is so unique to the setting just adds to the effect.Keoma's flashbacks to his boyhood are extremely well done, and the children they picked to play him and his half-brothers are very realistically matched to their adult counterparts. There are some cool slow-motion action scenes, and the action scenes in general are top-notch. I also like the character of the old woman who seems to have some kind of supernatural link to Keoma. We're never quite sure what her relationship is to him, or even whether she is real or not. The acting from all of the main players is also very well done, and the cinematography is beautiful.This is one of those spaghetti westerns that stands out from the crowd. It's a must-see if you are at all interested in the genre. I would recommend it to anyone who likes westerns, action flicks, or movies that are not made with a cookie-cutter.

A half-breed Indian Keoma returns back to his hometown after fighting in the Civil War, and finds his town is being run by an ex-Confederate soldier Caldwell and his outlaws. He holds power over the town by letting the plague infect the inhabitants, and since he won't let any sort of treatment be transported in. He sets up a community for those infected, and this where Keoma rescues a pregnant woman on her way there and returns her back to town. His three half-brothers have joined Caldwell, and I don't think that highly of their brother's return. But loyalty to their father, they won't kill him. His father William Shannon and former family servant/only friend George eventually join Keoma to break the strangle hold Caldwell possess.Whoa! How good? Real good. Director Enzo G. Castellari's grand looking and interesting spaghetti western comes across as a powerful and beautifully constructed Greek tragedy with a cynical and almost psychological edge bound to it. There's a bit everything chucked into this passionate and intelligent exercise. Breathing high on mood and atmosphere, photographer Aiace Parolin exquisitely frames the mercilessly brooding locations and Castellari's stylishly first-rate direction keeps the film sombre with a brutally unsparing and dirt-laced tone in its dramatic images and context. Good use of abstract lighting and composition, he knows how to keep the viewer at bay with slam-bang set pieces towards the end and a downbeat undercurrent. Inventive framing and exposition also shows the quality of his direction. The glorious slow-motion shootouts and editing technique (ala Sam Peckinpah) are dazzling and how about the constant jumping or leaping in the air. Was there a hidden trampoline on set?! Everything about it held a nice rhythm to it and you just get swept along. Even the flashback sequences are positioned in the story accordingly and in a fulfilling style. The lyrical story is full of symbolic and thematic issues (freedom being the main focal point) that do pack a punch, but also showing a vulnerable side. This gave it a real singular vibe to set it apart from the crowd. Hell, I didn't mind the uncanny and soaring ballad soundtrack too. The way it actually interlocked with the film's sequences, I thought it gave the film some soul and a backbone (well other than always charismatically reliable Nero). A rugged Franco Nero was outstanding. Both mentally and psychically in his scrappy determination and seldom figure Keoma. The impressively committed Woody Strode was excellent. William Berger brought class, and Olga Karlatos decently balanced out an innocent side that really was moving. Donald O'Brien nails it down in a starch turn as the villainous Caldwell.