![]() ![]() ![]() Academically assured and with a firm grasp on the socio-politico culture of the period, it makes for an engrossing contextual read. It necessarily covers much of the same historical ground, but does so in a much deeper critical and analytical way that is not, however, excessively theory-heavy. Tauris has also come up trumps with the publication of the more scholarly tome Radical Frontiers in the Spaghetti Western: Politics, Violence and Popular Italian Cinema by Austin Fisher. ![]() ![]() In no preferential order then, Kevin Grant’s terrific Any Gun Can Play: The Essential Guide to Euro-Westerns, published by the ever reliable FAB Press, gives us an insightful eight-chapter socio-historical overview of the cycle and includes two comprehensive appendices: a 47-page survey of ‘Who’s Who in Euro-Westerns’ and an essential 35-page chronological survey, ‘The Euro-Western Westerns’, which begins the voyage with Joaquín Luis Romero Marchent’s 1955 film El Coyote and ends with Lucky Luke (James Huth, 2009). Radical Frontiers in the Spaghetti Western: Politics, Violence and Popular Italian CinemaĪs readers will already know, there can be no such thing as too much Django, Ringo, Sartana, Sabata, Trinity et al, so the release of not one but two excellent tomes on the Spaghetti Western can be considered a bounty. Any Gun Can Play: The Essential Guide to Euro-Westerns ![]()
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