Boobirt Stylish but barely mediocre overall

StunnaKrypto Self-important, over-dramatic, uninspired.

Claysaba Excellent, Without a doubt!!

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

adrianswingler Franco Nero said in an interview that this was much more like American Westerns and he was right. Unfortunately, I think many that have grown to think of Rodriguez's Mariachi trilogy, or, heaven forbid Tarantino's Django trash, may think that a Spaghetti Western is so purely because of its style. If so, this one won't disappoint you. It is stylistically well done.But that's not what made Spaghetti Westerns what they were. Before the death of the Hollywood "Production Code", there was a BIG difference in terms of the subtext, the message of the movie. American Westerns of the '50s were terrorist morality tales, where the sheriff is the good guy, clean shaved, and Mexicans and Indians are terrorists out to be subdued by the morally righteous Yankees. The radical left in Italy systematically deconstructed that with protagonists that seldom saw a razor, were morally ambiguous, and the tin star was, as so directly put by the sheriff in "Sartana the Gravedigger", "just for show". In many in the genre the pillars of society are the most violent and morally corrupt individuals in the picture. Gringo intervention in Mexico is a analogy for the Viet Nam war. Only Sam Peckinpah did that within the American system. His "Major Dundee" deliberately deconstructs the worst colonial assumptions of "Rio Grande", particularly in the final scenes.This is the opposite of that. Here, a Mexican revolutionary pleads with the heroes to help the cause because "you two are Americans. You're both free. You went through this already. You understand". While that might seem, on the face of it, to be the poor struggling against the system, it's embracing the colonial assumption of the US as the world's policeman, and recreating that moral righteousness. In that sense this is much more in the vein of a Ford movie than a Damiani Western. So, for me, this isn't a Spaghetti Western for the same reason Tarantino's are not, though this one is not nearly so vacuous. A real Spaghetti Western is the product of a mentality which promoted leftist struggle of the poor against their oppressors. Jean Pierre Gorin, Jean- Luc Goddard's creative partner, put it best- "every Marxist on the block wanted to make a Western". None of them would have made this one.

spider89119 Before watching the movie, I watched the interview with Franco Nero that's on the disc. When he said that this western is "more like an American western" than any of his other movies I began to worry since I generally don't care for American westerns.The opening theme song of the movie is decidedly Euro-western, so that gave me some hope. Then the story began. The beginning scenes of the movie when they are in Texas are kind of hokey and corny in an American western sort of way, so I started to doubt the worth of this movie again. Fortunately this part of the movie is very short. The Sullivan brothers head off to Mexico and that's where the story unfolds and quickly becomes one hundred percent spaghetti western.The music score is very good, with lots of spaghetti style trumpets and guitar. The theme song becomes a haunting recurring melody.Franco Nero gives another action packed performance in this movie. His character, Burt Sullivan, has an uncanny ability with a gun that's reminiscent of Django. Jose Suarez is excellent in the role of the slimy land baron who murdered Sullivan's father, and Jose Guardiola is great as his cultured crony McLeod.Needless to say, this movie was much better than I expected after hearing Franco Nero's comments. This is definitely not an American western! If you like your spaghetti westerns packed with action and revenge Franco Nero style, do yourself a favor and check this one out.

paulelena1 While Texas, Addio may not be among the high water mark of European Western filmmaking, I find it baffling that one would completely dismiss a film because of the quality of its post-production dubbing in a language different from that of its country of origin. Filmmakers are rarely responsible for how their film is presented in foreign language markets, so to place the blame on Mr. Baldi and the producers for the relative poorness (which I must also disagree with--there have been much, much worse dubbing jobs) of the dub is the same sort of ill-informed ignorance that says that the Godzilla films produced by Toho Studios in Japan are "badly acted" because the American dubbing is sub-par.Aside from the dubbing, there's really no other reason to state that the studio and/or producers were incapable of making a Western. While Texas, Addio may not on par with Red River or The Searchers, the film delivers what most Western audiences ask for--a solid hero, a hissable villain, a believable conflict, plenty of gunplay, and a scenic atmosphere (and again, I'm baffled by statements that label the Spanish location as unattractive or, at the very least, not reminiscent of the American West). If you're interested in Italian Westerns, I urge you to see beyond the dubbing and invest the time in this film.

f.gimenez Ferdinando Baldi is one of those Italian directors who had the magical ability to make great films such as this one.Franco Nero, one of the best Italian actors ever reaches once more the highest peak in performance in this great Italy/Spanish co-production.If you don´t like this film, you probably won´t like none of the 500 westerns filmed in Europe, and that means this is not your genre, so then forget all about it and watch stuff like "Star trek" or "2001", you´ll probably find it more exciting.Action, action & more action is what you´ll get from this excellent spaghetti-western.(10 out 10)