The Ugly Ones (1966) User Reviews

Enjoyable and exciting film deemed the best Chorizo Western and filmed of course in Almeria

[ma-cortes · 7/10 · 23 July 2011]

¨The ugly ones¨ is a terrific example of the spaghetti western genre from Spain. Offbeat Paella-Spaghetti Western co-produced between Spain and Italy . The band ( Tito Garcia, Hugo Blanco) of a nasty Mexican frees Jose Gomez ( the Cuban Tomas Milian ); he and his bandits trespass the frontier and occupy a village .Escaped Jose Gomez goes back to his home town chased by a bounty killer . The towns people protect Gomez, unaware, at first, that he is changed and become an evil gunfighter . Our hero named Luke Chilson (Richard Wyler) is a bounty hunter riding on a robust horse and hunting outlaws . Gomez returns his ranch and seeks vengeance against Luke , while his hoodlums kill , mistreat countrymen . Meantime his former girlfriend (the Eurobabe Zalowska)double-crosses his friend .

It's an exciting western with breathtaking gun-play between the protagonist Richard Wyler against the heartless Tomas Milian and his hoodlums . Milian is fine, he ravages the screen, shoots, hit and run and kills . In the film premiere attained quite success and nowadays is well valued and I think it turns out to be a good Spaghetti Western. This movie is a lot of fun to watch. It's a fascinating story with a touch of peculiarity, some great characters, and an amazing music score.The picture also titled ¨The bounty killer¨is a tale of justice and revenge, as a man returns home to his village after his breakout and mistreats the townspeople . The basic plot is typical spaghetti western fare, but what makes this movie stand out is its style. Richard Wyler's performance in the movie is a bit wooden for the role of such an interesting character, but the fantastic performance by the always great Tomas Milian as the slimy, menacing outlaw and gang leader Gomez, make up for it. Appears as secondaries the habitual in Spanish/Italian Western such as Jose Canalejas , Luis Barboo, Ricardo Palacios , Mario Brega and Frank Braña , usual in Leone films. Special mention to Tito Garcia in his ordinary role as fatty Mexican bandit and in a cruelly baddie role , he is terrific, and bears a hysterical and mocking aspect , subsequently he would play similar characters .

The film packs violence , shootouts , high body-count and it's fast moving and quite entertaining . There is plenty of action in the movie , guaranteeing some shoot'em up or stunts every few minutes. There is a very odd implementation of zoom shots in the camera work during some particular scenes as the film approaches its climax. Rather than the usual sustained, intensity-building close-ups that Sergio Leone was so fond of, the filmmaker here uses a rapidly zooming in and out camera for a more unsettling effect. The movie gets the usual Western issues, such as avengers antiheroes , violent facing off , quick zooms, exaggerated baddies, soundtrack with Morricone influence , among them . Good production design creating an excellent scenario with luminous outdoors, dirty and rocky landscapes under a glimmer sun and a fine set on the manor . The musician Stelvio Cipriani composes a nice soundtrack and well conducted , this turns out to be one of the most memorable parts of the movie; as it's full of strange sounds and haunting musical background . The opening theme is one of my favorites, and is one of those unforgettable tunes that will play in your mind over and over long after the movie is realized. The soundtrack contributes tremendously to the atmosphere of the film, including an emotive leitmotif, the music score is perhaps the best part of this film . Striking cinematography by Enzo Barboni , ¨Trinity and Bambino¨ films director though is necessary a correct remastering . Outdoor sequences with barren exteriors filmed in Spanish places located on desert of Tabernas , Almeria . This motion picture produced by Jose G Maesso (Gringo , Django, Tarantos) is professionally directed by Eugenio Martin and won prizes conceded by Spanish Spectacle Syndicate. Martin is a horror movies expert ( Hypnosis, A candle for the devil , The fourth Mrs Anderson ) and Spaghetti Western ( Requiem, for a gringo , Pancho Villa , The ugly ones , Bad man's river ). Rating : Acceptable and passable Spaghetti Western , well worth watching .

Great things follow the slow beginning

[marc-366 · 7/10 · 29 June 2005]

This film was oh so close to nearly losing me. Maybe my attention span was limited - it had been a pretty tiring day after all (but thats another - and highly uninteresting - story!). But anyway, for pretty much the first third of the movie I was convinced that it was notable purely for being Tomas Milian's first foray into the Spaghetti Western genre that he is so renowned for (and rightly so).

Milian plays Jose Gomez, an outlaw treated with reverence by the small population that make up his hometown. He is freed from captivity by Eden (Zalewska), who looks at Gomez with wanting eyes, seeing him as a local hero. However, bounty hunter Luke Chilson (Wyler) is on his trail, and arrives at the town ahead of the escapee, to the wrath of the very protective townsfolk. When Gomez does arrive in town, with a group of bandits at the helm, the locals begin to experience that he is no longer the great man that they believed him to be, and begin to witness first hand why he has the bounty on his head.

Whilst the opening sequences are slow and stretched to near yawning point (even for me and, hey, I like slow films!), the second half of the movie more than makes up for it. The film really hits the heights as the locals witness the transformation of Gomez' character. Milian plays this role expertly, demonstrating clearly the promise that was to blossom fully in the very near future. Wyler's bounty hunter on the other-hand is far more restrained, yet apt for the character he portrays. There is also a fine supporting cast that includes Spaghetti favourites Mario Brega and Frank Brana, and a pretty powerful soundtrack provided by Cipriani.

All in all, I am relieved that I sat through the slow beginning, because the film does have so much going for it once it does get going. May day improved considerably. Well worth viewing.

It's okay....

[planktonrules · 6/10 · 14 February 2013]

The film stars Richard Wyler as a 'bounty killer'--a term I can't recall having ever heard except in Italian westerns (the correct American term is 'bounty hunter'). He's looking for José Gómez (Tomas Milian)--a guy who has escaped thanks, in part, to assistance from his girlfriend (Zalewska). She believes he's an innocent man and does not realize he's really a two-bit murderer.

Having seen a lot of Italian westerns, I find a certain sameness to many of them. Sure, the plots are a bit different--but not remarkably so. It's not a bad western but it also doesn't stand out in any particular way. The music is nice, the action decent and the story reasonably interesting. But, on the other hand there is a certain 'sameness' to the film--as if I'd seen a lot of other films like it. Plus, although Halina Zalewska is absolutely gorgeous in the film, she looks right out of 1967--with lipstick, hair and makeup that you'd never have found on a woman of the late 19th century. Also, while I don't want to see gallons of blood, this was an odd film because you see absolutely none--and this made little sense. Nor, now that I think of it, did the escape--as there is no way all these federal agents could be killed without the bad guys (who were outnumbered) even losing a single man.

Good Spaghetti, Hard-Boiled Characters Make Up For Flaws

[FightingWesterner · 7/10 · 28 June 2014]

Using a pistol slipped to him by his sweetheart, bandit Tomas Milian escapes an armed transport before encountering hard-as-nails bounty hunter Richard Wyler in what's left of his nearly deserted hometown, where the people are squarely on his side.

Although there's nothing much new here, there is a hard edge and a dead-serious nature to the proceedings that help make it enjoyable, along with Milian, who gives one of his typically offbeat performances, playing it cool and crazy! I wish I had a nickel for every time he basically played the same guy. Unfortunately though, Wyler is no match in the acting department and appears a little stiff.

In an interesting reversal of what you normally see in western films, the town of basically law abiding people (including spaghetti western star Mario Brega) welcomes the villain and actively aids him against the hero!

The enemy is within...

[KREEPY · 26 May 2003]

Given a free reign in New Chacos, the town in which he was born and where his Mexican parents were murdered when he was a child, Jose Sanchez (Tomas Milian) does what he knows best - breaks the law. But like anyone who has received love, affection and moral guidelines in their infancy, Jose has moments of lucidity when he realises that he is doing wrong. The problem is that crime and the inherent ease with which Jose can take whatever he wants have become an addiction; an addiction which has eaten away at his moral fibres so much that even the townsfolk who have helped to free him from the gun of bounty killer Luke Chiltern (Richard Wyler) are treated by Jose with contempt.

If there is one scene which compounds the extraordinary acting range of Tomas Milian into its unique whole, it occurs in this movie. Much of the action in The Ugly Ones takes place in the tavern of New Chacos owned by ex-gunman Novak whose niece Anna Eton (Ella Karin) helped free Jose from the law. In an intensely studied scene Milian portrays Jose as torn between obvious glee and tears as he contemplates robbing a young drifter who has just left the tavern. As he is emotionally torn in two his henchmen watch him. He is obviously a strong and charismatic leader to this gang of thuggish cut-throats, but there is a definite hint of caution among his gang in dealing with his schizoid personality. Finally, as if to put his mind at peace before their collective act of violence, Jose caresses, then cradles his head, on the butt of one of the gang member's guns before uttering his name, "Senor Gomez", a confirmation of his power and status.

The Ugly Ones is a very classy western indeed which transcends its black hat/white hat scenario with finesse. It's a classic "siege" western but this time the enemy is within; Jose and his amoral gang of desperadoes as one enemy and the guilt and cowardice of the townsfolk as another. "Only the rich have to fear men like Jose Gomez, not the poor. He's one of us." Their voicing of sympathy for outlaw gangs often forced into delinquency by social circumstance is countered by Chiltern's simplistic view of the situation, "Today, that child's a murderer." The film is loaded with interesting notions of why Jose has become a killer. We hear of his parents' deaths and his family's land being stolen and also that he killed a Yankee soldier in a brawl following a barrage of racist taunts. So with all this prejudice heaped on him solely because of his Mexican nationality, is it any wonder that Jose is forced to become a ruthless criminal? Why should Jose pull rank and behave himself? The answer is simply because the people of New Chacos still care for him and still remember the innocent child who used to play with Ethan the blacksmith (Mario Brega). For this reason they helped him to escape Chiltern and for this reason Jose holds the bounty killer captive.

But Jose spurns their affections and pathetic pleas for the violence to stop, preferring instead to drink himself into a stupor while his brutish friends engage in a particularly wild version of the "shooting and drinking" games which are as familiar to the spaghetti western as laughing Mexicans. When finally Jose and his men have stripped the town's businesses and caused as much destruction as possible it is Anna, Jose's childhood friend (and possibly sweetheart) who is brave enough to free Chiltern so that he can face Jose in a surprisingly vigorous showdown.

The exceptional location work and baroque visual touches can be attributed to Enzo Barboni who lensed Sergio Corbucci's ferocious Django in the same year while the complex analysis of Jose's criminality can probably be credited to co-script writers Don Prindle and Jose Maesso as well as Eugenio Martin. The film also boasts some of the finest supporting performances in the genre, particularly Ella Karin who, uniquely for a female in a rampantly macho genre, is the only one who will stand up to Jose's violence while it is implied throughout that their emotional ties are the strongest. But the most phenomenal aspect of The Ugly Ones is Tomas Milian, staking his claim in his genre debut as a formidable western leading man and delivering what is in retrospect, the spaghetti western's most complex and most electrifying performance, equally tormented, resentful and vicious right down to his final gasping breath.

Milian Shines Out in an OK Spaghetti-Makeover of "The Naked Spur"

[Witchfinder-General-666 · 6/10 · 23 March 2010]

Eugenio Martin's "El Precio De Un Hombre" aka. "The Bounty Killer"/"The Ugly Ones" seems to enjoy a particular appreciation of many of my fellow Spaghetti Western fans, but, personally I do not regard the film as being above average. I have utmost respect for director Eugenio Martin for his fantastic Horror film "Horror Express" (1972, starring Christopher Lee, Peter Cushing and Telly Salavas), and leading man Tomas Milian is one of my favorite actors, but, as far as I am concerned, this one is nothing beyond enjoyably entertaining, as the story is rather unoriginal and predictable. "The Ugly Ones" is only the second Western Milian ever did, the first being Sergio Sollima's masterpiece "La Resa Dei Conti" ("The Big Gundown", 1966) which is doubtlessly one of the greatest (Spaghetti) Westerns ever to be made. Milian is doubtlessly one of the greatest actors in Italian genre/cult-cinema. Starting with Westerns (most notably Sollima's trilogy), he would later become the most charismatic villain/hero in the Poliziotteschi of the 70s (most notably in Umberto Lenzi's fantastic "Milano Odia" and "Roma A Mano Armata"), and his oeuvre also includes a variety of other great films, such as Lucio Fulci's brilliant Giallo "Non Si Sevizia Un Paperino" ("Don't Torture A Duckling", 1972). No matter whether he is the hero or the villain, Milian is always fantastic and completely owns the screen with his unique presence. This film is mainly recommendable for Milian, who appears as the cunning, manipulative and somewhat charming villain he would often play in later crime flicks. Otherwise, it profits from a genre-typical nice score and cinematography, cult-regular Mario Brega in a supporting role, and the greatest possible setting for a European Western: the Spanish Almeria desert.

Milian plays José Gómez, an outlaw who escapes with the help of the innocent Eden (Halina Zalewska). Eden and a bunch of other good people who have known Gómez since his childhood, help him hide from Luke Chilson (Richard Wyler), a bounty hunter who is very successful in his profession. After a while, however, it becomes more and more obvious that Gómez is nothing like the poor orphan they once liked anymore...

The plot has strong resemblances to Anthony Mann's American Western "The Naked Spur" of 1953 (the Spanish Version of which was also called "El Precio De Un Hombre" in some countries), but while the premise fits the morale of the American Western quite well, it does not quite fit the antihero premise of this Italian Western. Even though portrayed as the villain, Milian's Gómez is the only interesting character in the film. The hero played by Richard Wyler (who sadly passed away this month - RIP), is your typical tough guy but good guy. Halina Zalewska's character is the typical innocent and naive but kind-hearted female - no surprises here. Miss Zalewska didn't appear in too many well-known films, but might be familiar to Italian Horror/Cult-Cinema fans for appearing twice aside the wonderful Barbara Steele, in Antonio Margheriti's "I Lunghi Capelli Della Morte" (The Long Hair of Death", 1964) and Camillo Mastrocinque's "Un Angelo Per Satana" ("An Angel For Satan", 1966). Spaghetti Western regular Mario Brega is the most notable member of the supporting cast; Brega, who appeared in masterpieces such as Sergio Leone's Dollar-Trilogy and Sergio Corbucci's "The Great Silence" (1968), is once again good, though his role here doesn't call for particular acting skills.

Overall, "El Precio De Un Hombre", is a decent enough but not particularly praiseworthy film, which is mainly recommendable for Tomas Milian.

Interesting enough to warrant this pass

[jordondave-28085 · 6/10 · 29 April 2023]

(1968) The Bounty Killer/ El precio de un hombre / The Ugly Ones DUBBED SPAGHETTI WESTERN

A very blatant beginning, but resonating after awhile. And I guess back on those days, 'aid and abetting' and 'accessory' wasn't considered a crime back then- not on this environment at least. Based on a novel written by Marvin H. Albert of the same name. Starring Richard Wyler as #1 Bounty Killer, Luke Chilson, who at first, is going after two escaped convicts with one of them escaping into a particular little town of a few houses, to give a lady named Eden(Halina Zalewska) a certain message. When it's all said and done, and by the time Luke shows up and leaves this town, he ends up killing one person, while capturing the other. The film then jumps to another felon, by the name of José Gómez (Tomas Milian) with several guards escorting him by wagon coach. And they coincidently stop at the same inn as Eve happens to be eating. Eve who's sitting right across from José then hands him a gun underneath a table, and then leaves. Chaos ensures with many people killed including the inn keeper. After bounty hunter Luke collects his reward from another town, he then hears about José's escape, and already knows where he's heading to without informing authorities about where José is going to show up. By the time he goes back to the small little town, it appears they don't like Luke at all and feel that they know José more than Luke does. But, by the time José shows up, it appears that he's just psychopathic as other people claim him to be, and that the people who were helping him were completely wrong. Much of this movie dwells on this set up. As I was watching this, the hero, Luke reminds me of "The Man With No Name' character created by Sergio Leone, since viewers no absolutely nothing about him except for what does for a living which is that he captures or kills wanted felons for a substantial reward. Had Leone gotten his hands of this script, it would've been an instant ingenious classic, but what we're left with instead is just an interesting premise with a not so interesting action sequences that could've been better.

"For a bullet spent was a dollar earned..."

[TankGuy · 6/10 · 23 July 2015]

Bounty killer Luke Chilson makes it his business to bring in escaped bandit Jose Gomez. Gomez flees to a small settlement on the Mexican border pursued by Chilson, who is treated with contempt by the townsfolk because of how he earns his living. However, the welcome Gomez with open arms and see him as the "victim". The townspeople help Gomez overpower Chilson and the bounty killer is held prisoner in the town. Gomez' gang soon joins him and the townsfolk become increasingly disturbed by the outlaw's violent behaviour. This prompts Gomez' former girlfriend to free Chilson which sets the stage for the inevitable showdown...

The Bounty Killer was released in mid 1966 when most spaghetti western directors were still practising their craft and only the likes of Leone or Corbucci could produce a truly amazing film. This movie is rather poor and makes for nothing more than a time passer, it's contents easily forgotten once the credits begin to roll. It does have its moments but failed to hold my attention, looking good on the outside but coming across as extremely tepid. Despite the interesting plot nothing much happens over the film's duration and the narrative is set around a dusty little settlement in the middle of the desert. Apart from the two leads all of the characters are one dimensional and uninteresting. Richard Wyler was pretty good as Chilson as was Tomas Milian as Gomez. Milian(in his first spaghetti western)chews the scenery but is really the film's saving grace. The soundtrack began to get tedious around the film's halfway mark and is one very dour composition, a far cry from a chilling Morricone score. Action is sparse but I will admit that the final showdown was pretty enjoyable. The OTT deaths intercut with the stern close-ups of Chilson's face did make me laugh a little. Jose Gomez gets a humorously melodramatic death which gives literal meaning to the term "...and another one bites the dust".

Overall an okay spaghetti western which is still worthy of viewing. 6/10.

Beautifully shot in Almeria, Spain; dubbed well into English, this is a great addition to the western genre!

[simonize-1 · 8/10 · 14 October 2004]

Great opening and closing shots, and everything wonderful in between as the camera captures both the wide open spaces and the claustrophobic confines of the station and its various buildings where much of the action in THE UGLY ONES takes place.

For a change well drawn characters rather than a catalogue of stock figures that you expect in a western. Unusually the female lead is a strong individual; the villain of the piece remains the most interesting and complex, and thankfully the bounty hunter does not succumb to becoming a romantic lead.

This film is violent for its time and I enjoyed the reliance on fisticuffs, rather than just gun-play.

The soundtrack is exceptional with a score by STELVIO CIPRIANI that exemplifies the unique qualities of the Euro western.

This is a film I would recommend to any film-goer, and equally important, certainly one that I would watch again (8 out of 10 for this genre).

Here is the ugly truth about the Ugly Ones. It's not that bad. Movie is a bit overlooked.

[ironhorse_iv · 6/10 · 14 January 2014]

It's doesn't stand out as much as the other Spaghetti Westerns movies, I have watch. Its story doesn't seem that interesting at first glance, but it is, once you get into it. It's just would be better told in a more enhanced writer's hands. Remind me of 1957's 3:10 to Yuma or Anthony Mann's 1953's The Naked Spur with its story. Though based on the western pulp novel by American Marvin Albert call 'Bounty Hunter', this movie follows the same basic patterns as other Italian flicks with the whole resurrection & insurrection plot line. That's if you can find this rare movie. It's badly damaged or cut by the years. Some versions are missing dialogue or violence key scenes. Some of the voice dubbing sound is missing, so that at these points the English audio with subtitles was used. There is also muffling and few background hiss. There are hints of very minor cropping at the sides of the print but seems to be original aspect ratio. It depends on what version, you end up getting. It doesn't help that 'The Ugly Ones' has many internationally re-released titles such as The Bounty Killer, The Days of the Guns, The Price of a Man, No Money equal no coffin, and etc. etc. It might get confusing, but all of those titles are the same movie. Directed by Eugenio Martín, the film marked the debut of Tomás Milián in the western genre playing the bad guy Jose Gomez, an outlaw treated and protected by his hometown from the law because they believe he is a local hero. Only one man, can be brave enough to risk the odds, and capture him; Bounty hunter, Luke Chilson (Richard Wyler). The pacing in the film is really slow, and stretch to near yawning point. The opening sequences of Luke Chilson catching another escapee, and Jose Gomez escaping could be cut out, and it wouldn't make any different in the end. The second half of the movie, more than makes up for it. The action scenes are pretty good. I do like the diner escape scene. The violence is not over the top, it's has some realistic looking dangerous stunt work. There's a scene where a guy gets shot off of his horse, and after he falls, that horse rolls right over him. That couldn't have felt very good. Also scenes of blood, bruising, and one shot kills that isn't fake looking. The acting is great. I'm overall impression of Milian committed to portrayal a man on a path of self-destruction. The film is loaded with interesting complex analysis of Jose's criminality ranging from his parent's violence death and land stolen by American raiders to racism by law enforcement. In the movie, violence and corruption traps Gomez, who led by his own good intentions, in the end become more corrupted and violent as those that brutalized him. By making Gomez more likable and romantic in nature. The audience is almost likely get sucker punched into rooting for him, until the evil fabric of his character becomes apparent. The film really hits the heights as the locals see the transformation of Gomez's dark side peeking out, more and more. Milian plays this villain role great, but in some scenes it seem like he is just murmuring nonsense. Wyler's bounty hunter is far more restrained subdued stoic good guy, yet apt for the character he portrays. Thank goodness, Chilson does not succumb to becoming a romantic lead in this. He is a well-drawn character rather than a stock heroic figure that you expect in a western. Surprising even the female role play by Halina Zelewska as Eden is never degrades her into a sex object due to her character's complex duality between Gomez and Chilson that causes her character conflict. Her decision play the biggest part of the ending in the film. It has weight with the black hat/white hat scenario. Some people see it as a right wing message that says the poor should look deeper into what they call these Robin Hood type heroes. I have to somewhat agree. Altogether, this creates an interesting story that is very sophisticated for what is, basically, a B-List movie. The camera work is pretty good, and captured both the wide open spaces and the claustrophobic confines of the buildings where much of the action in takes place. Once again, watch the diner scene again. There is a very abnormal implementation of zoom shots in the camera work during some particular scenes as the film approaches its climax use as a dreamlike intoxicated, surreal fragmentation of Gomez's mind. Rather than the usual sustained, intensity-building close-ups that Sergio Leone was so fond of, the filmmaker here uses a rapidly zooming in and out camera for a more unsettling effect. It's somewhat annoying and headache to watch. The soundtrack is exceptional with a score by Stelvio Cipriani that exemplifies the unique qualities of the Euro western score. Overall: it's worth the watch if a Spaghetti Western's fan, but a bit forgettable compare to the other flashy Spaghetti Westerns, I'm used to.

Diabolical

[sirarthurstreebgreebling · 1/10 · 19 September 2000]

Released as "The Ugly Ones" this is a highly overrated italian western. Its slow (not interestingly so), Badly Filmed (although the print I saw was damaged) , Diabolical acting that even bad dubbing does not take away from and a plodding plot that the saturday b serial westerns of the 1940's would have been proud of. From the same time came a group of highly polished or just plain original versions of the theme that america had been churning out for 3 decades. The italians revived the genre , breathed life into it, but this monstrous waste of time seems to be a cyst on the backside of the industry that was chopped off , but not quick enough , it made the screen.

Impressive & Professional

[Steve_Nyland · 8/10 · 29 May 2009]

Eugenio Martin's THE BOUNTY KILLER is another of those really impressive & highly professionally made overlooked Italian spaghetti western classics. Regardless of genre this is a highly entertaining film, imaginatively staged & filmed with stylistic flourish by "Trinity" creator Enzo Barboni. Based on the western pulp novel of the same name by Marvin H. Albert and boasting a robust Stelvio Cipriani musical score, the film has an authority to it's execution that belies the low budget origins of the production.

All of this realized by a first rate cast: Thomas Milian steals the show as a suave killer who devolves into a chattering psychopath after he & his gang of grubby unwashed cut-throats take over his former home village (which due to budget restraints is populated by all of six people, but never mind). The performance is measured against Richard Wyler's grim, laconic bounty hunter, determined to bring in Milian for bounty dead or alive. Frequent Margheriti actress Halina Zalewska with her glittering blue eyes plays the woman who is both the key to Milian's wanton freedom and his eventual demise. Mario "Mr. Fun" Brega plays the beefy lummox town blacksmith who makes a mistake by helping to free Milian and very quickly comes to regret it, with colorful supporting bit parts for familiar faces like Frank Braña, Luis Barboo, José Canalejas, Enzo Fiermonte, and paunchy Ricardo Canales who is never seen without a plate of stew.

Thomas Milian's performance is the key to the movie's success, specifically contrasted with Wyler's far more subdued good guy. By making Milian's character more likable and romantic in nature the audience is almost sucker punched into rooting for him, until the evil fabric of his character becomes apparent. Some of his schtick gets a bit tiresome towards the end -- he spends a lot of time murmuring what seem to be significant lines just below the audio threshold level -- but it is the first of countless tour-de-force performances by Milian. He's always a fascinating actor with a "love it or hate it" style, and I like to divide his career into a Pre-Funny Hat and Post-Funny Hat eras. This might be his best Pre-Funny Hat acting, though it's hard to beat THE BIG GUNDOWN.

Another interesting aspect of the movie is Halina Zelewska's role which never degrades her into a sex object. Yes she is undeniably attractive and costumed in a manner that enhances her overlooked cleavage, but she is an equal with the boys in this one and it's refreshing to see a spaghetti western heroine who isn't just a cheap lay for the lead actor. Her role is complex and laden with a duality that causes her character conflict: Does she side with the suave bandit or the cold bounty killer? Her decisions are the most important moments of the film, a significance rarely seen among western damsels from either side of the Atlantic.

Why has this film been so overlooked? Not only will western fans who scoff at spaghetti westerns find it interesting, but non-fans of the western genre will doubtlessly be drawn to the plotting and characterizations. The gunplay and bravado are just gravy on top of a wonderful concoction.

8/10

Not to be confused with the film of the same name as its original book title.

[mark.waltz · 5/10 · 18 February 2024]

Mixing up the two films (the other one released the previous year, necessating a title change), I realized half way through that I was watching a different film than I thought. Fortunately, I was able to find out the name of the correct movie and thus apply my review to it. Both deal with bounty hunters, but fortunately the plot synopsis alerted me to a very different story, this one the search for wanted killer, Tomas Milian, who's being protected by his home town unaware of the truth.

With the bounty hunter played by Richard Wyler, he has his hands full, especially with Milian's girlfriend, Ella Karin, protecting him. The film is Moody and violent, the music haunting and the styles of the village houses quite beautiful. I wouldn't call this one a western classic, but I did find it different with spaghetti western traits quite evident. Milian gives a complex performance, a bit scary when the truth about his real nature comes out.

Excellent Iberian Western

[rmahaney4 · 8/10 · 10 October 2006]

Along with El Hombre que mató a Billy el Niño (1967), Condenados a vivir (1972), and a few other, El precio de un hombre (1966) is one of the best "Spanish" or "Iberian" westerns (written or directed by a Spanish filmmaker). Most of these films have tended to be overlooked next to the flashy and flamboyant Italian variant, which is unfortunate as they have a narrative coherency all their own that is well worth a look at. Of all of these movies, this one is perhaps the most accessible to Leone fans.

Though based on a novel by American Marvin Albert, this movie follows the same basic patterns as other Mediterranean westerns. The basic Italian "resurrection/insurrection plot" (the protagonist is nearly killed, rises from the grave, then liberates the community) is represented by Richard Wyler's Luke Chilson, a bounty hunter whose monetary motivations prove to be the only reliable ones on this baroque frontier.

The movie's primary focus, the "Ugly ones" of the American title, represents the preoccupations of the other Spanish westerns mentioned above. Outlaws are always distinguished from the rest of society by their desperate bestiality. In these movies, violence and corruption trap an innocent protagonist who, led by his own good intentions, in the end is corrupted and becomes as violent as those that brutalized him. This storyline is represented by Tomas Milian's Jose Gomez.

These two story lines occur within a basic plot that seems to be based on the classic "siege westerns" of the 1950s like 3:10 to Yuma (1957). This creates an interesting social skein in which these two characters act. Neither is able to gain an advantage over the other without the support of the community, support that is based in the perceptions of these characters, their past and their roles, and the world in which all of this takes place. Halina Zalewska's Eden plays a similar role to the women in the Gastaldi written movies like Arizona Colt (1966) in which the alienated hero is integrated into the community through his relationship with her. In this movie, Eden is perhaps more active and her choices are as important as the actions of Chilson or Gomez. Altogether, this creates an interesting story that is very sophisticated for what is, basically, a B movie. The Italian/Spanish film industry was both decentralized and competitive enough for there to be strange, creative permutations of popular story lines that both satisfied and surprised. This movie does both.

The movie starts slowly, carefully setting up the final acts in which it becomes more dreamlike as we participate in Jose's intoxicated, surreal disintegration. These scenes are similar to the almost psychedelic "pop-westerns" such as Sentenza di morte (1968) or Se sei vivo spara (1967). Typical of the Iberian variant, the ending is represents an ambiguous exorcism. In the other Spanish westerns mentioned, this exorcism is the ironic confirmation of a contagious violence. With this movie, instead we have a community that has been stripped of it's pretensions and is left truly disillusioned. The professional – the bounty hunter – once rejected in favor of the romantic Robin Hood is the only one left standing. At one point early in the movie Chilson's dollar to pay for a meal is rejected by the townsfolk, left in the dust. They won't except his currency and how it is earned. At the end of the film they are forced to except his "currency," at least in a sense.

Enzo Barboni's cinematography helps give the film slightly more polished and stylized look than other, often static and crude, Spanish westerns. Barboni's was one of the most important filmmakers in the euro-western, shooting Django [1966] and Viva Django [1969] and also directing the two Trinity movies. Crispiani's score is effective and was reused in later films.

Top spaghetti western list http://imdb.com/mymovies/list?l=21849907

Average SWs http://imdb.com/mymovies/list?l=21849889

For fanatics only (bottom of the barrel) http://imdb.com/mymovies/list?l=21849890

Whiskey guzzlin' unshaven bullet mongers

[Blaise_B · 18 January 2003]

This one starts out slow but gets good. It is reportedly Tomas Milian's first western. He turns in one of his best performances as an escaped convict who returns home, where the "bounty killer" of the title lies in wait for him. The townsfolk side with their old friend Milian, only to watch his behavior degenerate into that of the miscreant he's become. Soon his entire gang of freaky looking b**tards (the alternate title is "The Ugly Ones") has trickled into town and the villagers are at their mercy.

This film is the ideological opposite of "The Great Silence" in that everyone hates the bounty hunter, but in the end he turns out to be right. Just the same it's quite entertaining when it gets going and features the best "outlaws terrorizing the townsfolk" sequence of any western I've seen. Rivals the one in the first "Mad Max," which isn't even a western. One of the terrorizing outlaws is the drunk from "Cutthroats Nine." Actually, the cast all around is great, with more than one familiar face. The musical score works well once you get used to it, though it sounds a lot like a cross between a Morricone rip-off and something by that guy who did the "Brady Bunch" music. Eugenio Martin's direction, while it has some slow spots and flaws, shows true inspiration.

All in all, worth seeing for genre fans and a must for those of Tomas Milian.

Bland is my name

[inacan-90-894261 · 3/10 · 17 June 2022]

It's a low budget Spanish western with bleh acting and writing. I literally thought the villain was the good guy until Nearly halfway through as he smiled and seemed to be the only character with a hint of personality. The characters are 2 dimensional and bland. The music sounds cheap (their budget was spent on the wind noises and horse rentals. Die hard fans only.

Worthwhile spaghetti Western

[Woodyanders · 8/10 · 18 March 2010]

Cagey and charismatic outlaw Jose Gomez (a typically fine portrayal by the always reliable Tomas Millian) escapes from the authorities and seeks refuge in his old hometown. The townspeople which include Joses's sweet and fiery old flame Eden (an excellent performance by the lovely Halina Zalewska) gladly give him shelter; they aren't aware that Jose has become a very dangerous criminal. Meanwhile, tough and shrewd bounty killer Luke Chilson (a superbly rugged portrayal by Richard Wyler) arrives in town to collect the sizable reward that's been placed on Jose's head. Director Eugenio Martino, who also co-wrote the sharp and intriguing script with Jose Gutierrez Maesso and James Donald Frindle, ably relates a strong and compelling story which unfolds at a steady pace and delivers a potent central message about the perils of taking someone at sentimental face value. The startling outbursts of raw violence pack quite a wallop and the climactic confrontation between Chilson and Jose's gang is very gripping and exciting. The three main characters are exceptionally well developed and expertly acted by the uniformly terrific leads. Enzo Barboni's crisp cinematography boasts several breathtaking panoramic shots of the vast and desolate desert landscape. Stelvio Cipriani supplies a first-rate robust and rousing score. Highly recommended.

Cookie Cutter

[thebushwacker · 4/10 · 26 December 2021]

"The Ugly Ones" 1966 1h 35m Original title: El precio de un hombre AKA The Bounty Killer

This is a paella AND a spaghetti western. It was filmed in Spain, produced by Italians, and came in both Spanish and Italian, originally. It was released in the U. S. in 1968. The story is pretty good, but the cinematrography is lacking. The directing stinks. The photography is bad. The camera shots and setups are horrible. And the music is downright annoying in parts. Thomas Milian as the bad guy, Jose, is terrible. Richard Stapley as Luke, the bounty hunter, is actually pretty good and a likeable man. Halina Zalewska as Eden is acceptable, but mediocre.

The plot is shockingly cookie cutter and worn out.

The Bushwacker 12/26/2021.

One of Tomas Milian's best performances

[bensonmum2 · 8/10 · 13 December 2009]

As far as Euro-Westerns go, The Bounty Killer has about as straight forward a plot as you'll find. Jose Gomez (Tomas Milian) is a prisoner being moved by coach to a new facility to await his death. The citizens of his hometown see him as something of a hero and want to help him out. Gomez's would-be love interest Eden (Halina Zalewska) slips him a gun at one of the stage's stops. But is Gomez the same man the townsfolk remember? Or, as bounty hunter Luke Chilson (Richard Wyler) warns, has Gomez changed and no longer deserving of their admiration? The locals are about to find out as Gomez and his gang with the bounty hunter hot on his heels are headed straight for their sleepy little town.

It's not perfect by any means, but for fans of Euro-Westerns, there's a lot in The Bounty Killer to enjoy. First, and most obvious, is Tomas Milian. I don't know how many of these Westerns he made, but this was his first. And quite honestly, it may represent his best acting performance. The multi-dimensions and facets he's able to give his character, Jose Gomez, is nothing short of brilliant. Even though he's an escaped prisoner, Gomez is a character we initially root for. But slowly, he changes. Toward the end of the film, Milian has transformed Gomez into the kind of ruthless killer that a hangman's noose is too good for. And his final moments on screen, all I can say is "Wow!" It's an incredible performance. As for the rest of the cast, they're all more than adequate with the familiar face of Mario Brega, the beautiful face of Halina Zalewska, and the steady, unflinching face Richard Wyler as anti-hero Luke Chilson. It takes a while for Chilson to grow on you, but once he does it's easy to appreciate the character. In fact, it takes a while for all of The Bounty Killer to grow on you. The film starts out slow (very slow in fact), but be patient – the payoff is worth the wait. Looking back at the film, the pacing director Eugenio Martin gives to The Bounty Killer is one of the movie's assets – culminating with a final act that features plenty of fight scenes, shoot outs, and various other killings. Not as graphic as some of the later Euro-Westerns, there's enough violence to keep most everyone happy. The Spanish country side is beautifully filmed and provides just the gorgeous dusty setting I've come to look forward to in these films. Finally, Stelvio Cipriani's score, though often repetitive, is rousing and memorable. Overall, it's a job well done.

Good Looking Spaghetti Western

[zardoz-13 · 8/10 · 19 May 2013]

The dusty looking Spaghetti western "The Bounty Killer," known also as "The Ugly Ones," ranks as an above-average, Italian-made oater with the prolific Tomas Milian as a charismatic outlaw and Richard Wyler as a bounty hunter. "Bad Man's River" director Eugenio Martín, along with genre pioneers José Gutiérrez Maesso of "Minnesota Clay" and James Donald Prindle of "Gunfight at Red Sands," did something entirely different from most Spaghetti westerns. They used an American western novel written by Marvin Albert as their source material. In fact, Albert wrote several other westerns that Hollywood turned into westerns. "Rough Night in Jericho," "Duel at Diablo," "Bullet for a Badman," and "The Law and Jake Wade" were the others. Despite the atriocus dubbing on the Echo Bridge version, "The Bounty Killer" is a fast-paced horse opera lensed on western sets left over from other westerns around Alme. and against mountains terrain that the best of the early Spaghetti westerns were made. The arid Spanish scenery substitutes splendidly for the parched American southwest, with future "Trinity" helmer Enzo Barboni creating striking pictorial compositions that are complemented by "A Stranger in Town" composer Stelvio Cipriani's catchy, atmospheric music. "The Bounty Killer" appeared during the first phase of the Spaghetti western, when the Europeans made them with noisy gunfights, screaming horses, and thoroughly despicable villains. Nothing is really distinctive about Richard Wyler's heroic bounty hunter. He looks like he could have ridden out of a 1950s' Hollywood sagebrusher.

The Last Breath

[J_J_Gittes · 10/10 · 19 December 2012]

My first film by Eugenio Martin, and I am deeply moved. Nagisa Oshima once wrote that all filmmakers want to film sex and death the most. I always understood the first part, never the second. I think, now I do. The moment when Tomas Milian's character lies on the ground, dying, his face covered with dirt, and we see only half of it, as the camera shows us an extreme close-up, with a lonely tear rolling down his cheeks as he exhales his last breaths that stir the dust of the soil to lift itself up from the ground a few more times.

The relentlessness of the view. The relentlessness of the camera watching. That's been something which I've been pondering a lot ever since I started falling in love with cinema. Looking, not wanting to let go, and at last having to, at some point in time – because everything has to end. That is death. Everything is death. We die a thousand times each day.

Those looks, those insisting eyes Martin keeps us showing and showing, paired with the melancholy tunes of master composer Stelvio Cipriani are the heart and soul of the whole movie. Which is a melodrama at its core, a subdued, forlorn melodrama. A film of the past, looking upon it. Once upon a time in the West.

The editing is also top-notch always putting people side by side, giving everyone at least a little attention and thus creating an ensemble piece of people, connected like beads on a string. Everyone is important in this film. Because everyone is human.

The dying – in the end we all have to die. I would like to think that at the end of the movie, the protagonist, a Bounty Killer, doesn't collect the bounty for Milian's character but lets the townspeople bury one of their own, one who used to belong. He is still a part of them.

Anyways, the film is a statement, a demonstration, an elegy, wonderfully executed up until the end-titles which must have been some of the first in film history created in this now dominant way. 1966: After the credits have rolled, the image turns black and we remain to hear a wailing trumpet and finally the last strings of a soothing guitar. Maybe it's not what you see before you die, but what you hear. The last sounds of this world.