Horst in Translation ([email protected]) "Der Ölprinz" or "The Oil Prince" is a West German / Yugoslavian co-production from 1965, so this 90-minute movie had its 50th anniversary last year. Once again, it stars Pierre Brice as the title character and Stewart Granger is on board too playing Old Surehand with Lex Barker and the (recently deceased Götz George) not in it this time. But there are familiar faces from other Karl May adaptations, such as Terence Hill and a whole lot of Yugoslavian actors. Overall, this film can be summarized pretty nicely that it is hurt by the absence of a not too great actor like Lex Barker. At least he had tons of charisma. Pierre Brice is not a good actor in my opinion and should not have headlined this franchise. The result is that this movie we have here is almost entirely forgettable and lacks in many departments, especially story-telling. The director and also one of the two writers who adapted Karl May's work is Harald Philipp and I have seen other work from him that disappointed me. Still I am not sure if it is really his fault or if May is the one too blame as I have never read the base material. The result in this very case is a film that may be beautiful visually at times, but is really empty in terms of the story. If you want to see a great oil movie, go for "There Will be Blood" instead.

Poseidon-3 A later entry in the so-called (due to being German-made) "Kraut Western" series of Karl May novels-turned-films, this one doesn't quite measure up to some of the others, but does have a few things to recommend it. Granger takes on a role very similar to one that Lex Barker had portrayed in prior films, that of a buckskin-clad adventurer, frequently joined by his trusted Indian friend Brice. Here they must aid a wagon train of settlers who are being misled and mistreated by a greedy oil baron (Leipnitz) who wishes to lay claim to the land they are heading towards. Leipnitz sticks them with an impostor for a scout, plays a spy (Hill) in their midst and then turns the Indians, led by Popovic-Mavid, against them. Granger is solid, though he brings a more effete quality to the series than rugged, macho Barker did (something not aided by his flouncy scarf.) Brice is one step away from being unintentionally funny with stoic demeanor, sudden appearances and his pigeon English. In one scene, he says, "Surely, my friend…" and one almost waits for Granger to say, "Stop calling me Shirley!" in response. He also has an awfully haphazard moment or two performing an otherwise surprisingly thrilling rescue on a raging river. Leipnitz has a terrific look, all clad in black leather and with a neatly trimmed beard. His villainy adds to the film. Hill is handsome and decent, but doesn't get the amount of screen time or showcasing he would command a few years later. Weissgerber is a middle-aged pioneer woman while Meril is a young lady falling for Hill. Both women are okay, but can't help but pale next to previous ladies in the series such as Elke Sommer, Daliah Lavi and Karin Dor. There is some atrocious (and annoying) "comic relief" with Weissgerber's brother, a meek, cowardly composer of operas and Srdoc, a 48 year-old, is ineffectively cast as a crotchety and decrepit old man. As in most of these films, the bulk of the dubbing is laughably bad, with many of the characters sounding like grizzled, growly-voiced cowpokes, no matter what they look like. Still, there are things to enjoy here. The scenery (though not that of the western U.S. – tulips pop up in one scene!) is stunning. There are some great shots of a rushing river and waterfall. Unusual approaches to action and mayhem are present, for example there is a mute assassin called "Knife", for obvious reasons, and a general difference in tone from the standard western films, which are being emulated. It doesn't always work, but it's usually entertaining on a modest level. Sadly, the title rampage is cut short rather quickly, making for a somewhat anticlimactic denouement. The best of the Karl May filmizations is "The Treasure of Silver Lake".

django-1 RAMPAGE AT APACHE WELLS played theatrically in the US and used to get a lot of TV play as late as 1991. Its popularity is not hard to understand. Like all of the German-made westerns from the "winnetou" cycle, based on the literary works of Karl May (this one from his novel The Oil Prince, which IS available in an in-print English translation for those so inclined), this is well-mounted, beautifully photographed, beautifully scored, and well-acted. As I remember, Lex Barker made SIX films in the role of Old Shatterhand, Stewart Granger made two in the role of Old Surehand, and Rod Cameron made one in the role of Old Firehand (and I have not seen the latter...). As rugged and manly as Barker was, Granger also does well with the role, bringing his own unique humor and elegance to the character. If only he had made more of these! One surprising appearance here is Terence Hill (under his real name, Mario Girotti) as a complex, not-really-admirable character who grows throughout the film and sees the error of his ways. Hill plays the snivelling role convincingly, and he will be a surprise to those who only know his later heroic and comedy roles. Another interesting aspect of this film (more evident in the novels than in most of the films) is the details about German immigrants in America. As I live in South Texas, I live near some of the German settlements of the 1800s and have learned about the history of Germans in Texas-- it's interesting to see particularly German qualities in some of the settlers instead of just making them generic Anglo settlers. Of course, I don't go to films like this (or any film) for detailed history, but the particularity has a interesting flavor to it. The late Stewart Granger was a man with real star quality, with a charm and wit and elegance that is seen in every frame. While he camps it up in some of his European work of the 1960s (although always in an entertaining manner!), he certainly took the role of Old Surehand seriously. He is a nice mesh with Pierre Brice's warm but stoic interpretation of the Winnetou character. The film also has a full array of colorful supporting characters. Overall, while this may not have the depth or philosophical profundity of the finest Italian Westerns, it is a satisfying, impressively mounted Western that fires on all cylinders and deserves wider fame.

amikus2000 This Winnetou movie contains a story with whole look at Winnetous opposite OIL PRINCE Harald Leipnitz. Stewart Granger's script gave him a rather passive position. Heinz Erhard (piano-player) could turn it into a comedy, but he fails sometimes. Terence Hill ads the famous actor set, surrounded by the famous soundtrack. Psychological cruelty enriches the Winnetou plot and turns newer aspects in an attractive western.