China 9, Liberty 37 (1978)

Truly Dreadful Film

Easily the biggest piece of Right wing non sense propaganda I ever saw.

Worth seeing just to witness how winsome it is.

Mostly, the movie is committed to the value of a good time.

'China 9, Liberty 37' is last of Monte Hellman's westerns, and his weakest attempt in that genre. The film tries to combine elements of spaghetti western with Hellman's usual existential vision. Although entertaining and thrilling at moments, the film falls into mediocrity as there isn't enough spaghetti nor existentialism.Clayton Drumm (Fabio Testi) is a gunslinger waiting to be hanged, but is given last minute pardon when men from railroad company hire him to kill Matthew Sabinek (Warren Oates) who used to work as a hired gun for same men years ago. Sounds interesting? Clayton rides into the farm where Matthew lives with his young wife Catherine (Jenny Agutter). The younger and faster gunslinger, who has grown weary of the killing, decides not to complete his mission when he starts to like Matthew and two men become sort of friends. And then enters farmer's gorgeous looking wife.There is the feel of growing tension in the first quarter of the film, that promises to become tense thriller, but then falls flat as generic love triangle and revenge story. Fabio Testi's lack of charisma against the talents and gravely looks of great Warren Oates becomes obstacle that doesn't allow proper chemistry to evolve between two main characters. Monte Hellman's other westerns (or western type movies) weren't always very thick and original on plot either, but they were executed with fascinating ways and ideas.Recommended to the fans of Warren Oates and Monte Hellman, and when you do, try to get the uncut version as there are some meaty lines (an nudity) to juice things up a little bit.Also, another great western director Sam Peckinpah treats the fans of the genre with wonderful cameo as an author Wilbur Olsen who wants to write story based on Clayton's life.

A somewhat odd spaghetti Western. I am not familiar with this Monte Hellman, but at first I thought he was trying to be Sergio Leone. Later, I thought he was trying to outdo Leone. I am not sure if the setting is supposed to be southeast Texas, even though there are towns named China and Liberty there, but the countryside there is wooded, and even a bit swampy. Excellent photography of the arid Spanish landscapes. The sound was awful, though, with score and background noise often drowning out dialog. Fabio Testi was the wooden anti-hero, with a serious Italian accent. Warren Oates was the only really well-developed character. Jenny Agutter was oh, so beautiful. But she was alternately reserved and wanton, so it was hard to figure out her character. (You really have to see the uncut version. It is available if you search hard enough for it.) There were a few anachronisms and plot holes but not terribly so. A pet peeve of mine is people suffering grievous wounds, like gunshots and stabbings, and seemingly having no ill effects after three days. I know it moves the narrative along, but sheesh. Anyway it was OK, and just a bit better due to Agutter.

China 9, Liberty 37 (1978) ** (out of 4) Condemned gunman Clayton Drumm (Fabio Testi) is saved from the noose but he must track down farmer Matthew Sebanek (Warren Oates) and kill him since he refuses to sell his valuable land to the railroad company. Clayton goes to do the deed but ends up falling in love with the man's wife (Jenny Agutter), which just adds more problems. This Italian/Spanish co-production from cult director Hellman has a few decent moments but in the end this is a pretty boring affair from start to finish. I know Hellman has a strong cult following among some film fans but I can't say I'm one of them. This film here is yet another Spaghetti Western that tells a rather familiar story but Hellman puts his own spin on things and these spins actually hurt more than help. This film has a lot of problems including letting the viewer know who we should be cheering for. The film starts off with Testi being the bad guy and we're given Matthew to like. At around the thirty-minute mark we switch sides as it turns out Matthew is a real jerk who abuses his wife and the director has decided to put us in a love story. The love story between Testi and Agutter never works for several reasons. One reason is that the two have no chemistry and one can't help but roll their eyes at the love banter they give at each other. The screenplay mentions that Agutter is shy and "changes her clothes in the barn" but that doesn't keep her from being nude in this thing at least six different times. The nude scenes are only available in the R-rated cut (most boots are of the TV print) and are the main reasons to watch this thing. Agutter is an incredibly beautiful woman so seeing her nude is about the only thing that keeps this sucker moving. However, even the sex scenes are messed up by Hellman as he decides to film them in a slow-motion fashion with an incredibly bad score over them and a couple even has some sort of weak pop song. Why on Earth Hellman decided to do this is anyone's guess but it doesn't work. I also didn't believe Testi in his role too much but then again this could be due to the fact that Hellman seemed more interested in showing off his body than anything else. Oates is always dependable and he turns in a good performance even though the screenplay does him no favors. Agutter's role is pretty thankless but she gives it all she can. Look quick for Sam Peckinpah as a writer.

Named after a mysterious signpost in Beaumont, southeast Texas, set between U.S. 90 and the adjacent Southern Pacific railroad tracks, that inexplicably reads "China 9 Liberty 37", with the genre fading quick into obscurity in both sides of the Atlantic, this, Monte Hellman's and Warren Oates' final western, seems to be trying to succeed despite itself, setting pitfalls for itself and falling into them but still somehow remaining a formidable picture, not just worthy of bearing Monte Hellman's name (a vastly under-appreciated American auteur with an incredible run in the early 70's that saddly never took off) but doing justice to it.If the movie can work despite Fabio Testi's unintelligible Italian accent, then it can overcome almost everything. I say almost because Pino Donaggio's score (a jumbled mess of muzak apart from the fitting opening credits theme that seems to be consciously channeling Morricone) defies overcoming and Hellman's inexplicable fixation to not only squeeze a heartfelt romance out of two actors (Testi and Jenny Agutter) who simply don't have it in them to look "in love" but to go ahead and film not one but two long "making love" scenes, y'know, the ones where the two lovers are lost passionately in each other's eyes, kiss like fishes and rock back and forth in a rhythmic staccato all of which is played to horrible "making love" muzak, threaten to throw the whole thing permanently off.But just when you think he's lost control, all Hellman needs to do to suck the viewer back in is cut to Warren Oates. A man not only made from that late 60's mold of cinematic badass but also a naturally charismatic actor who gave some truly electrifying performances for Hellman (COCKFIGHTER and TWO-LANE BLACKTOP), Oates, as the grizzly homesteader fighting the railroad company he once worked for that is now trying to steal his land, makes the movie, has the gravitational pull to keep everything together. Even in his early 50's he has so much charisma he can spare some for bland hunk Fabio Testi.With the spaghetti western dead by 1978 (the last major release was MANNAJA the previous year - and the Italian genre industry moving on to a not-so-eclectic mix of MAD MAX and JAWS rip-offs to sustain itself in its waning years, before the advent of home video and movies opening worldwide killed it off) and Clint Eastwood continuing to carry the American western on his shoulders almost single-handedly, China 9 Liberty 37 is more of a throwback to Hellman's previous westerns, a particular niche unto themselves that take from both national western schools but subscribe to neither, than anything contemporary, certainly not as violent and cynic as most 70's westerns. Seen with regards to an overall oeuvre, China takes its proper place somewhere between THE SHOOTING and RIDE THE WHIRLWIND. More the sum of their author's fixations, clearly works bearing a distinct auteurial mark, Hellman's westerns seem like the late 60's equivalent of Budd Boetticher's Ranown westerns. The minimalism of the plot, the isolated settings, the lone female characters... but that's for another post.