chaos-rampant Maybe Cesare Canevari fancied himself a radical, maybe he didn't care at all about doing a western in the first place, maybe he didn't really care a whole lot about making movies to begin with. Because Matalo is as much a western as something like Sukiyaki Western Django. People wear stetson hats and fire sixshooters at each other, they ride horses and there's a ghost town, but the rest is a blurred Gothic fantasy filmed in awkward closeups and frantic camera movements. It's artsy and aesthetically minded in the same way Jess Franco was artsy, that is to say the intention is there and sometimes the translation makes sense, but the cruddy execution is 70's European exploitation. The curtains are colored fiery red and the lightning of the overfurnished interiors is dark and expressive like it came from a horror movie or a spooky western by Antonio Margheriti.The plot about a gang of psychopathic robbers seeking refuge in a dusty ghost town to count their dough while they wait for their boss to arrive so they can make the split, all this while the desert keeps spitting out parched half-dead stragglers at them, is bare bones. It doesn't make a lick of sense and I bet Canevari intented it that way; I can see someone trying to make a case about Matalo and existentialism, but I won't go there. The movie is more concerned with its own exaggerated theatrical shenanigans. It even has Lou Castel duke it out with the robbers using boomerangs. It has a halfmad bearded robber go wip the blue velvet bedsheets with a golden chain in slow motion, he then whips Lou Castel in slow motion out in the street, then a horse comes along and stomps him half to death, in regular motion this time (I'm kidding, it's slow motion again).If you can imagine the inmates of an insane asylum turned loose on such a void script with a camera and filming equipment, someone has randomly worn the director's hat and points at various objects to be filmed, and a dozen of the other drooling imbeciles keep spinning the camera around, while others dressed in cowboy attire fire guns around them aimlessly and grimace into the camera; then you can imagine the way in which Matalo is special, even among spaghetti westerns. Now and then a half-competent band doles out fuzzy acid rock in the soundtrack. The use of slow motion is not rousing and lyrical like in Keoma, the baroque sensibilities are not as pronounced as those of Django Kill, the kitschen-sink craziness lacks El Topo's singularity of vision. It's mostly wired in a way to elicit "far out, man!" reactions from the psychotronic crowd; but they can always watch.. I dunno, Vampiros Lesbos?

Wizard-8 If you get the American DVD of this movie, you'll see on the back of the box that the manufacturer states that MATALO! is "...perhaps the strangest spaghetti western ever made and an exercise in style over content." To put it mildly! This movie seems to have been directed by an insane mind. There were a few things I liked about it. There are some striking images (the sun shining in the camera, a priest being surrounded by a ring of riders, etc.), and the electronic score by Mario Migliardi is very memorable with its electronic tones (including electric guitars) and traditional spaghetti western tones such as bells. The boomerang climax is also memorable.Unfortunately, despite a few good elements like these, I didn't overall care for this movie - and I usually like spaghetti westerns. The movie is very slow-moving, and the characters mostly act alike (and are also mostly confusing in their plans and schemes). Frankly, I was exhausted by the end by the movie's relying on flashy camera movements to cover up that nothing much was happening. Even if you are a spaghetti western lover like I am, you would be better off rewatching one of your favorite spaghetti westerns than take a look at this.

steeplejack17 I loved the score by Mario Migilardi. Overall this movie for me was a major disappointment. The script was very weak, bad acting with the exception of Lou Castel who played a great role as the boomerang slinging son of a preacher, who is in the wrong place at the wrong time. The Mary character was great how she seduced and would do anything for wealth. I think the movie tried to hard to be like Django Kill it was more weak than surreal. It was Corrado Pani (Bart) in his only role in the genre and we can see why good looking but bad acting! You have an old lady struggling to grasp Benson Town is a ghost town but she hangs around waiting for a stranger like Castel to bring life back there which he denies the offer. The gold just slips away on a donkey nobody wants it except mortally wounded Bart who rides after it...okay!!! Wow, I am shocked there was no Matalo (2). Last thing did Mary and Philip die from the camera spinning around and around or by bullets??? I almost passed out from 2 minutes of brilliant camera work!

Mario Pio i LIKE MOVIES THAT MAKE ME STRANGE SENSATION!According to Mereghetti's dictionary of movies, this western is "as a Leone at last in mescalina" and with some moments that reminds Monte Hellman's movies for the use of the empty moments. This movie seems to me an august nightmare, with the hot, the desolation and the wonderful state of madness that characterized the end of the summer. Also notable is the score of Mario Mingardi, a mix of Jimi Hendrix and Luciano Berio, with electronics that supplies dialogues. I think that in western there is nothing like the duel of Matalo, a pistol against boomerangs! Recommended for all who like strange movies in the heart of the night with a little drop of alcohol or something else!