Leofwine_draca SON OF DJANGO is perhaps one of the most notable of all DJANGO rip-offs following on from the success of the Franco Nero vehicle. This one is also called RETURN OF DJANGO somewhat oddly, given that the main character is Django's offspring, come to find out who killed his deceased father. There's the usual debt of inspiration to A FISTFUL OF DOLLARS, as the setting is a small western town split by two warring sides. Django's kid is in the mix and soon takes up arms himself.This is pretty much par for the course for the spaghetti western genre, quite cheap-looking in places. The writing lets the film down at times, providing ordinary throughout and letting the audience hang at the confuddled climax. Gabriele Tinti, that familiar star of Italian cinema in the 1970s, is the erstwhile hero, supported by a scene-stealing Guy Madison as the helpful town priest.

ccmiller1492 "Son of Django" amounts to nothing more than the title character's vendetta against what approximates a "Mafia don" in the old west...... It's a routine plot with Jeff Tracy, Django's son avenging his death. I never liked our American westerns much because they mostly seemed so unconvincing...the heroes (like Randolph Scott and John Wayne) and even the villains are way too clean and sterilized for the times, and the killings are antiseptically bloodless for some odd reason. I now watch them just for the plots and the settings, which are superior to the spaghetti westerns.As sub-par as this one is, it's faults are mainly due to the writers and director. Gabriele Tinti cannot be blamed for his lack of any credible dialog. His good-looking, masculine face and weathered,beard-shadowed jaw perfectly resembles those western heroes customarily pictured on American pulp paperbacks. He's long, lean and could be mean, but he's got a lot of soul and some morality, too. My favorite sequence is when he intervenes to stop a brutal and seemingly endless gang beating of an innocent man right in the middle of the town, in front of the victim's wife. It's hard to believe that Tinti, who looks like the perfect, slightly grubby epitome of the western hero was stuck for most of his career as a supporting character in "Emmanuelle" films. What a waste!I give this film a 7 out of 10 just because of Tinti's magnificent presence which illustrates the ideal of the American western hero. With a better script worthy of him, this could have been a standout and a new direction for his body of work.

MARIO GAUCI I know there were scores of films revolving around the character of Django (though, to be fair, many of these were considered as such merely in export versions), introduced in Sergio Corbucci's masterful Spaghetti Western with Franco Nero (and to which an official sequel was only made some 20 years later!). As far as I know, I'd previously come upon just one such effort – DJANGO SHOOTS FIRST (1966), which was okay – and two more – DJANGO, KILL...IF YOU LIVE, SHOOT! (1967) and DEATH SENTENCE (1968), both excellent if unusual – which are known as "Django" titles merely outside their native country.This, then, is the third 'official' Django film I've watched: unfortunately, it turned out to be one of the least rewarding Spaghetti Westerns out there! As can be surmised, the narrative opens with the cowardly Jesse James-like assassination of the popular character, which leaves his kid son (who witnessed it) to avenge him as a grown-up – now played by Gabriele Tinti (later spouse of Laura "Black Emanuelle" Gemser, an extensive collection of whose dubious work I should be laying my hands on in the near future!). Typically, the Western town involved is divided between two warring factions; conveniently, both had been former associates of Django…as is the current preacher (top-billed Guy Madison – it was customary to engage the services of erstwhile American stars for this particular brand of "Euro" oater)!The film features a reasonable amount of action throughout, but the execution is exceedingly inept (for instance, a number of shoot-outs occur during the first 10 minutes – as if the director mistrusted the attention span of possible viewers – but, given that we don't know who is getting shot by whom or why, it's all very confusing!). What, then, of his apparent need to have each and every bad guy make such a big moment of his death scene, irrespective of whether he had figured to some extent in the proceedings or not?! Also involved are a French card-sharp (with whom Tinti had shared a prison cell) and his gunfighter companion – who subsequently join the ranks of one of the rival outfits, while the brooding Django Jr. prefers to keep to himself. Female presences of any consequence are limited to a saloon hostess and the wife of a landowner whom one of the clan leaders kills in a duel (she herself unwittingly falls victim to the same man soon after when confronted by her in his room).For what it's worth, the film's climax strives to be meaningful but only manages to be muddled – thus deeply unsatisfactory! Characteristically, then, Piero Umiliani's score also emerges as a sub-par effort overall (despite a catchy main theme).

mister990 I disagree with the other reviewer and to my taste this is a superior spaghetti with an off-character performance from Tinti that places him IMHO in a superior niche to anything that Richard Harrison ever did. While this is not a great spaghetti it is a competent film and many of the scenes deserve repeat viewing for interest. This movie contains all of the elements of a fine spaghetti however it is weak in significant areas relating to storyline, continuity and detail. For example, this was not a starring role for Madison. Madison should have been listed as a "featured" cast member, however this detail does not impact the film overall. Yes his entrance is awkward -- almost an after thought -- but he did contribute to the action and I especially liked his line about "an eye-for-an-eye" being different where guns and bullets are concerned! So finally this is (after all) a 1967 period spaghetti, and IMO one of the better ones. Overall I rate this movie as a solid 7 to my taste where 10 would be something like Vengeance or Keoma.