RETURN OF HALLELUJAH, THE

aka Il west ti va stretto amico… 'è arrivato Alleluja (I), Alleluja défie l'ouest (Fr), Briechtet, Freunde, Hallelujah kommt (WG), The Return of Hallelujah (Int)
1972
Italy/West Germany/France
Dario Sabatello for Colosseo Artistica (Rome), Hermes Film Syncron (Berlin), Societé Cin.que Lyre (Paris)
Director: Anthony Ascott [Giuliano Carnimeo]
Story: Giovanni Simonelli
Screenplay: Giorgio Simonelli, Tito Carpi
Music: Stelvio Cipriani (C.A.M.)
Cinematography: Stelvio Massi {Eastmancolor - Colorscope Spes}
Editor: Ornella Micheli
Set design: Carlo Leva
Cameraman: Michele Pensato
Filmed:
Release information: Registered 18.08.72. Italy (30.08.72, 91 mins), West Germany (20.10.72, 96 mins), France (14.01.76, 91 mins)
Cast: George Hilton (Alleluja), Agata Flori (Flora, Archie's girlfriend), Lincoln Tate (Archie, the Scotsman), Raymond Bussiéres (Sam), Umberto D'Orsi (Ferguson), Riccardo Garrone (Zagaina), Roberto Camardiel (General Ramirez), Paolo Gozlino (Drake), Nello Pazzafini (Abele), Adriana Fachetti (the American), Fortunato Arena, Attilio Dottesio (the lawyer), Alfred Thomas (Ferguson's servant), Pasquale Fasciano (head of the Indians), Renato Malavasi, Michael Hinz, Peter Berling, Martial Bresson, Mara Krupp, Lars Bloch, Antonio Guerra, Paolo Magalotti, Gianni Pulone, Claudio Ruffini

Irredeemingly silly but at the same time mildly endearing, this title again pairs up Giuliano Carmineo with star George Hilton and, like The Crazy Bunch and Holy God, It's the Passatore, results in a slightly surreal, overtly puerile mishmash. If you are willing to suspend your cynicism for a while, there is some entertainment to be found in this, but it is so far removed from the downbeat highs of the Spaghetti Western genre that it is in an entirely different league of competition. On the other hand, there is some nice music and it looks - like virtually all of the directors films - absolutely stunning, the photography on this occasion being handled by accomplished lensman and future crime film specialist Stelvio Massi.

Hallelujah (Hilton) is hired by an incompetent Mexican revolutionary (Roberto Camardiel) to recover a lost Aztec idol, with which he will be able to elicit the help of the native tribes in his hapless uprising. However, such a powerful symbol has it's attractions for a wide range of other individuals, most notably a chubby proto-capitalist who sees it as an opportunity to gain rites of export exclusivity in the gold trade by selling it to a rival commandant. Also along for the ride are kilt-wearing Archie (Lincoln Tate) and his erstwhile partner Fleurette (Agata Flori), who are also out to make a quick dime.

There are an assortment of bizarre visual gags, some of which drag the film into the realms of the plain odd. Hallelujah makes use of a variety of unusual equipment to dispose of his enemies: golf balls, cuckoo clocks and even a booby-trapped set of bagpipes! Also par for the course is the entirely hectic ending in which everyone proceeds to beat shit out of each other for about fifteen minutes.

The Return of Hallelujah suffers from the failings of its genre. There is a reliance on slapstick to the detriment of pacing - you can only see fist fights so many times before becoming bored by them. The need to be quirky also hinders the creation of any mood or tension. However, if you are not repelled by the mere thought of comedy Spaghetti Westerns this is by no means the worst of its type. Some of the jokes are mildly inventive and aesthetically it is more pleasing than most. Furthermore, there is a diamond cast. Supporting the always-enjoyable Hilton are a variety of the most watchable of genre staples, from Nello Pazzafini to Riccardo Garrone as a crap Zorro.

Matt B