man pride and vengeance

We’ve had space westerns, horror westerns, comedy westerns, existential westerns and some that combined all of the above (1972’s El Topo). As a genre, it’s had to be malleable to survive. But Man, Pride and Vengeance (1967) might be the only western based on an opera – or more specifically a novel better known as an opera. Starring Franco Nero, one of the most iconic European gunslingers, paired with a filmmaking team that included cinematographer Vittorio Storaro (Apocalypse Now), the film never breaks into song, but manages carry Prosper Merimee’s story of Carmen in its saddlebags with unexpected eloquence.

Don Jose (Nero), a dutiful soldier, is duped by a charming peasant girl, Carmen (Tina Aumont), who winds up throwing his career into disgrace. Her mental and emotional manipulations drive Jose mad with passion to the point where he kills a superior officer in a fit of jealousy, forcing him to become an outlaw to survive. Committed to his life of crime – as long as he can share it with Carmen – Jose plans a stagecoach robbery to start their new life together. But the appearance of Carmen’s secret husband (Klaus Kinski) arranges all the players for a finale worthy of the stage…or screen.

As pointed out in the audio commentary, Man, Pride and Vengeance is no Spaghetti Western quickie. With a sizable budget and a classic story to tell, director Luigi Bazzoni shoots with scope and style that even trumps Leone at times. Storaro (working as camera operator) composes indelible images, not just of the expected landscapes and scenery, but of the rich urban life Jose must leave behind. Although the translation to a western setting can be a bit forced at times (and was obviously added to capitalize on the genre’s popularity), everyone approaches the material with the utmost respect.

Which might actually be jarring for viewers expecting another down-and-dirty series of showdowns, as hinted at by the Django-ish cover art. Nero and Aumont perform with operatic passion, which means they’re often playing for the cheap seats. And the fact that much of the story takes place outside of the familiar dusty cattle towns and saloons of Leone’s west is another steep learning curve. Although it disguises itself as such, Man, Pride and Vengeance isn’t so much a western as a tragedy with six guns.

Blue Underground’s high definition transfer (which comes from the original negative) is an all-around flawless presentation. One could say revelatory, but since the film has never played in North America, few fans have any source of comparison. The aforementioned commentary by C. Courtney Joyner and Henry C. Parke provides some historical perspective. As does a half-hour series of interviews with Nero and Storaro, who worked together again on the equally impressive The Fifth Cord. Trailers, posters and stills wrap things up.