This is bonkers: from the ‘spaghetti western’ opening to the keystone cops chases. We see Christ on the cross announcing, just after dying, that there’ll be another performance later. It’s fascinating to see ‘swinging sixties’ ‘anything goes’ aesthetics recycled in Castro’s Cuba even if it’s often difficult to work out what’s going.
Roy’s done the legwork on the background here.
Filed under: Latin American cinema |