Tedfoldol everything you have heard about this movie is true.

Hadrina The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Ogosmith Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Benedito Dias Rodrigues Unusual spaguetti western made by Robert Hossein in a beautiful Almeria landscape in Spain,a sort of a homage to Sergio Leone who actually directed a single dinner scene only,Hossein playing a quiet guy who wear a black glove every time he needs use a gun, a wise trademark for a gunman,and Michele Mercier as black widow for first time didn't use your sex appeal,on a serious acting,well made french-Italian production,finally something new for this genre!!!This movie just come out in box-set with four movie in spaguetti kind all them remastered with original audio!!those movie already available in brazilian maket on single has a bad image on dubbed version,mostly has a fake english audio!!Resume:First watch: 2018 /How many: 1 / Source: DVD / Rating: 7.25

Kirpianuscus only a different western. using the classic rules of genre. but who could not be reduced at this rules. because it is a gray, silent, precise story. like a Mediteranean story of justice and revenge. because the meet of viewer with Michele Mercier and Robert Hossein has nothing with the memories about Angelique series. because Michele Mercier gives a character, with each subtle nuances, remembering more the Greek tragedies than a western. because the cinematography is great. and the story has a special flavor. a film a bout duty and love. clear, precise, special.

merklekranz "Cemetery Without Crosses" has plenty of crosses in the cemetery. This is what I would call a minimalist "spaghetti western". Simple revenge kidnapping story, with minimal dialog. I really would have liked to see the characters and screenplay developed a bit further. The editing, which is rather choppy, makes this seem more like loosely connected vignettes. The stunt work is some of the most unconvincing I have ever seen, and the blood looks like nothing more than red paint. A downbeat ending was somewhat of a surprise, but overall "Cemetery Without Crosses" must be considered as nothing more than a slightly better than average "spaghetti". - MERK

MARIO GAUCI 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!