Watch Cemetery Without Crosses For Free

Simply A Masterpiece

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

This is a violent , beautifully crafted as well as exaggerated Spaghetti and packs taciturn acting on cynical characters with bloodbaths including high body-count , sense of style and elaborate narration . It pits ¨Man with no name¨ against two families that are feuding between them , the Rogers and the Caine . As a gunslinger (Robert Hossein) saves the damsel in distress who is also his former flame (Michelle Mercier) and at the same time she is seeking revenge for death her husband . The gunman join forces with the widow pitting the nasty family who uses twisted means to chase them and it terminates in a deadly feud . The pistolero kills various bandits in a gunfight at the saloon , then he is detained and imprisoned by the sheriff . Later on , there takes place kidnapping , killings , street shootouts at a ghost town and tragic events .This classic Western titled ¨Une Corde, Un Colt..." or "Cemetery Without Crosses" or "The Rope and the Colt" contains slow and deliberating filming , elaborate shoot-outs , and portentous close-ups of grime-encrustred faces with heinous bloodbaths included . It is a strange , slow-moving and almost utterly visual picture with some surprises and well paced . Robert Hossien stars as a leather-clad gunfighter and wearing black glove , drawn into a dramatic facing off between two revengeful families . Hossein plays a drifter similarly to Clint Eastwood's ¨Man with no name¨ from ¨A fistful of dollars¨ and ¨For a fistful of dollars more¨. Fine support cast formed by Italian/French actors , all of them customary Spaghetti such as Guido Lollobrigida or Lee Burton , Daniele Vargas , Serge Marquand , Benito Stefanelli and Ivano Staccioli . Special mention to Michele Mercier as attractive as well as vengeful widow .This is a well-made French/Italian production , in spite of , there appears usual Spanish secondary players from Paella/Ravioli Western , mostly uncredited , such as Simón Arriaga , José Canalejas , Álvaro De Luna , Charly Bravo , Cris Huerta , Lorenzo Robledo and Angel Alvarez as a Barman likeness to his role in Django . Unforgettable and terrific original music by André Hossein , in Ennio Morricone style , including a catching leitmotif , one of the best of Spaghetti . Worn-out cinematography by Henry Persin , being necessary a nice remastering because of the colors are faded. This stylish , violent , laconic Western was very well shot by Robert Hossein and is dedicated to Sergio Leone , who made one of the more important scenes . Hossein did revive his career almost instantly on the strength of this film through the main role and filmmaking . Director Robert Hossein claims that Dario Argento was not involved in writing the screenplay with perhaps not more than two dozen lines of dialog ; Dario Argento is listed in the credits on the Italian and German versions but not on the French version . Robert Hossein said that the dinner scene at the Rogers house was directed by Sergio Leone. Rating : Better than average Spaghetti Western .

Listerning to the very good commentary on the Blue Underground edition of Dario Argento's directing debut,I was surprise to learn that Argento had originally started out as a screenwriter.Attempting "a mix and match" of Argento-written films that I would be able to purchase fairly easily,I was happy to discover,that whilst Argento's most famous screen writing credit is on Sergio Leone's Once Upon A Time In The West,I was very pleased to find a forgotten 1969 Spaghetti western that Argento had co-written with Claude Desailly and Robert Hossein (who also directed and starred in the film,along with his dad doing the movies score!)called Cemetery Without Crosses.And with hand holding a cowboy hat,and the other holding a pair of Giallo black gloves,I felt that I had a great opportunity to take a look around the cemetery with no crosses.The plot:After being forced to watch her husband get brutally murdered by a gang of outlaws,Marie Caine's day is not made any better when,whilst burring her husband two friends rush to tell her the bad news that almost all of the livestock that she and her husband owned has been killed.Desperate to show the outlaws that she wont go down without a fight,Marie gets hold of a horse and heads for the nearest town,where she eventually finds a mutual called Manuel. Initially turning down Marie's pleas to help avenge the death of her husband,due to Manuel (who seems to have a strange obsession with wearing black leather gloves)feeling that "You believe in revenge,I don't."Manuel has a temporally laps from his written in stone rules of staying out of "other peoples business" and takes a quick look around his town,where he discovers all of the outlaws beating the residents up and beginning to act like the "law" of the town.Whilst still fearing about kicking off a cycle of revenge,Manuel begins to feel that if he does not help Marie to avenge the death of her husband and his (former) best friend,then the outlaws are defiantly gonna make sure that their "cycle of terror" never leaves the town,until they have complete control.View on the film:The first main thing that I have to say about this wonderful film,is that if you are a fan of dialogue-heavy movies,then prepare yourself to see something completely different,with this movie having only around 30 lines of dialogue for the whole of its 90 minute running time.Impressively screenwriters Robert Hossein,Dario Argento and Claude Desailly show that sometimes less really is more,with the chosen moments of dialogue being placed at perfect points in the films running time,thanks to it either helping to develop the films plot,or to push the mood of the movie into grimmer territory.Along with the film being one which can be easily enjoyed in its own right,the movie is also very interesting to look at in seeing the start of some themes that co-screenwriter Argento would expand upon in the future,with Manuel wearing black leather gloves,and the presence of a very prominent female lead character being two of the main things that Dario would carry on with later on.Although I have read quite a few times in magazines and online people saying that a scene in a film "could be put on a wall as a work of art",this has been one of the few films I have seen where it looks like the camera is filming actually works of art!.For his stunningly elegant directing,Robert Hossein shows himself to be a master of the wide shot,with the beautiful,wilderness natural locations being allowed to shine to their fullest,As Manuel goes around the increasingly dangerous wilderness of the town to help Marie avenge the death of her husband.Along with the stunning wide shots,Hossein gives the film a great "grim" look,which allows the wonderful performances from himself and the fantastic Michele Mercier (who had both starred in the 1964 film Angelique)to go from an attempt to find hope,to falling into dying despair. Final view on the film:A wonderful,elegantly sparse Spaghetti Western with great performances and beautiful directing from actor,co-screenwriter and director Hossein.

Cemetery Without Crosses: a film that I have been chasing for a number of years for my DVD collection...never saw it previously. Well worth the wait...a film that stands up extremely well against the better non-Leone spaghetti westerns (Great Silence, Big Gundown, Bullet for the General, Day of Anger,Face to Face, etc) and at least as well against a Fistful of Dollars. Beginning: sepia toned, without any dialogue, three men on horseback are being chased by about 10-15 men...from the beginning, it is obvious one of the three being chased will not make it...then titles, credits, and color to the movie... A third into the movie, we come to a ghost town where our protagonist dwells...he plays roulette against himself...a former flame comes to the town and asks for his help in obtaining a measure of revenge...don't do it, he cautions... In the middle of the movie, our protagonist sits and eats with the family and employees of the men doing the chasing in the beginning of the movies...silence...knowing glances...something is about to happen... Two thirds into the movie: a woman is kidnapped and raped...tries to escape...the remaining two men who were chased in the movie are kidnapped themselves, beaten... End of Movie: the final, obligatory shoot-out... Questions abound...symbolism heavy...stayed with me a few days...well worth the journey...oh, the photography is excellent, as is the music, and there is a cameo performance by Sergio Leone himself... Very underrated film...

The qualities inherent in this Spaghetti Western have more to do with its uniqueness rather than for any outstanding merit: the film, in fact, is a French-Italian co-production (albeit co-scripted by none other than Dario Argento!). Also unusual is the fact that the movie was helmed by its own leading man – incidentally, the two stars (Hossein and Michele Mercier) had just finished the 5-picture "Angelique" series, which is currently being re-proposed on Italian TV (I've recorded four of them so far but have yet to watch any). Of the remaining cast members, I was mainly familiar with Michel Lemoine (perhaps best-known for playing the Mephistophelean figure in Jess Franco's SUCCUBUS [1967] and who would himself graduate to direction with the likes of SEVEN WOMEN FOR Satan [1974]); though his character isn't given any distinguishing features, the actor's odd looks are enough to give an offbeat tone to the traditional Western garb and settings.The plot – a running feud between two factions, with each of whom the laid-back and detached ex-gunfighter Hossein becomes involved – is quite typical and straightforward; actually, the hero had been Mercier's flame but the latter eventually married another man, who turned out to be no good…though she's determined that the perpetrators of his death be punished, which is why she now turns once more to Hossein (living a hermitic existence in a nearby ghost town!). In direct opposition to the "Angelique" films mentioned above – where the sensuality of Mercier, one of the loveliest starlets of her time, was given center-stage – here, she deliberately chose to be deglamorized (not only forced to bury her husband all by herself but being physically manhandled by the villains at the end). Anyway, Hossein joins the other side – ostensibly as a rustler – but subsequently kidnaps the patriarch's daughter for purposes of ransom; on the other hand, they retaliate by beating up the two brothers (Lemoine among them) of Mercier's husband. By the time it's all over, unsurprisingly, there are bodies lying everywhere – even the stars get it (with Hossein giving himself a particularly ironic demise)! Much of what's admirable in the genre at its best is evident here as well: laconic dialogue, good action (ominously donning a glove before engaging in shoot-outs, Hossein's gunplay is so quick as to border on the invisible!), terrific score (by the director's father Andre'!) and an evocatively grubby look (the opening and closing moments, then, are given an added dimension by being presented in sepia); interestingly, Hossein dedicated the film to his friend (and undisputed master of the genre) Sergio Leone!