![\"A](\"http:\/\/www.thewildeye.co.uk\/blog\/wp-content\/uploads\/a-ghentar-si-muore.jpg\")
<\/a>Wisecracking adventurer Teddy Jason (George Hilton) is hired by rebels from the Republic of Ghentar to retrieve a case full of documents from a plane that has crashed into the sea. He immediately has problems with the secret police, who seem to know his plans, and is forced to enlist the help of a fisherman called Botul. After a few more scrapes he is successful in his task, but surprised to find that the case is actually full of diamonds. Intending to keep them for himself he hides them secretly on the hull of Botul\u2019s boat.<\/p>\n
Unfortunately, he is promptly captured by the pesky police and, refusing to talk under torture, is sentenced to imprisonment in \u2018The Mines of Paradise\u2019 \u2013 a glorified prison camp in the desert. As well as suffering from the heat, exhaustive work and a period of solitary confinement, Teddy is also encouraged to talk by being tempted with a nice cool beer. This is frankly too much for a red blooded male to take, so he organizes a daring escape with some fellow prisoners.<\/p>\n
Escaping, however, is only the beginning of their problems: there is still a desert to cross on foot. After his companions have all died of thirst, Teddy is fortunate to be found by the men of Kim (Thomas Moore), a captain in the secret police who is in reality the head of the rebels. He agrees to help them out with their revolution in the hope that this will give him the chance to get his hands firmly back on the diamonds. An attack upon the cliffside headquarters of the Dictator Lorme (Alfonso Rojas) is planned.<\/p>\n
A ghentar<\/strong> is fortunate to benefit from an absolutely top-notch soundtrack, courtesy of Carlo Savina, which mixes a western-type title theme with some Arabian influenced tracks to great effect. Unfortunately, the same can\u2019t really be said of much else about the film, which is resolutely\u00a0mediocre. There’s some decent underwater cinematography, but beyond that it doesn\u2019t really amount to much.<\/p>\n Leon Klimovsky was notorious for putting his name to films that weren\u2019t actually directed by him. This enabled producers to claim tax-breaks from the Spanish government, which was great for them but a severe headache for film historians trying to work out just who made the damn things. The presence of veteran Italian director Marino Girolami in a generic supervisory role is a good clue that\u00a0someone else was actually responsible, as Hilton elaborated in an interview with Cine70: “Leon Klimovsky was an Argentinian and in Argentina he had done some important things and was a much respected person. \u00a0But he was already old, and wasn\u2019t really adept at this kind of film. \u00a0The true director was Enzo Girolami, and I remember that some of the film was also directed by Enzo\u2019s father, Marino Girolami, who was an excellent person. \u00a0But all the Girolami family is excellent.”<\/p>\n","protected":false},"excerpt":{"rendered":" Aka A Ghentar le Mort Est Facile (Fr), En Ghentar se muere facil (Es) 1967 Italy\/Spain Marco Film (Rome), R.M. Film (Madrid) Director: Leon…<\/p>\n","protected":false},"author":1,"featured_media":4539,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1212,8],"tags":[1348,1347,743,407,154],"_links":{"self":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts\/4537"}],"collection":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/comments?post=4537"}],"version-history":[{"count":1,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts\/4537\/revisions"}],"predecessor-version":[{"id":4540,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/posts\/4537\/revisions\/4540"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/media\/4539"}],"wp:attachment":[{"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/media?parent=4537"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/categories?post=4537"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.thewildeye.co.uk\/blog\/wp-json\/wp\/v2\/tags?post=4537"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}