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░ ▒ █ G. and M. De Angelis - Keoma OST █ █ ░
▒ ░ █ █ ▓ ░
▓ ▒ █ Supplier : sfE Date : Aug-05-2003 █ ▒ ▓
█ ░ █ Ripper : Team sfE Style : Soundtrack █ ░ █
█ ▓ w/ help of : cdex 1.40b/lame Trax : 09 ▓ █
█▄▄ ▒ Bitrate : 192kbps / 44,1kHz / full stereo ▒ ▄▄█
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▒ █ █ [ informations ] █ █ ▒
░ █ █ █ █ ░
█ █ label : Hexacord █ █
█ █ code : n/a █ █
█ █ █ █
█ █ comments : Made in 1976, Keoma is a lyrical and █ █
█ █ atypical western equipped with █ █
█ █ surrealist mysticism. █ █
█ █ █ █
█ █ Like many Italian films of the era, █ █
█ █ Keoma was shot without any real script; █ █
█ █ therefore the director, script writer █ █
█ █ and actors improvised from day to day, █ █
█ █ creating a melting pot of cultural █ █
█ █ influences as diverse as Shakespeare, █ █
█ █ the Bible, Peckinpah, Leone, Fellini and █ █
█ █ Pasolini. The soundtrack brings a █ █
█ █ dramatic dimension to it with the music █ █
█ █ of Leonard Cohen. █ █
█ █ █ █
█ █ The result is a baroque film with █ █
█ █ strong, symbolic connotations and █ █
█ █ surprisingly is a masterpiece of the █ █
█ █ genre.s █ █
█ █ █ █
█ █ Franco Nero plays Keoma, a half Indian █ █
█ █ who, upon returning to his father, █ █
█ █ arouses the jealousy of his █ █
█ █ half-brothers but also delivers the town █ █
█ █ from the clutches of a gang. █ █
█ █ █ █
█ █ At the center of the film we find the █ █
█ █ theme switching between life and death, █ █
█ █ proof of which is the allegorical final █ █
█ █ sequence where the duel shown is █ █
█ █ parallel with a birth. References to the █ █
█ █ bible are omnipresent, giving the film a █ █
█ █ mystical aura. In fact, Keoma resembles █ █
█ █ Christ and the deliberately surreal █ █
█ █ scene where he finds himself attached to █ █
█ █ a wheel obviously refers to the █ █
█ █ crucifixion. The script is also built █ █
█ █ around the parable of the Prodigal Son █ █
█ █ returning home to the jealousy of his █ █
█ █ brothers, and the theme of fraternal █ █
█ █ jealousy is also very Shakespearean. █ █
█ █ Another mystical aspect is the presence █ █
█ █ of an old woman, part witch, part █ █
█ █ guardian angel whose apparitions are █ █
█ █ very surrealistic. █ █
█ █ █ █
█ █ The film also tackles racism, whether █ █
█ █ it's via the character of the mestizo █ █
█ █ rejected by his brothers or via the █ █
█ █ black slave who discovers that freedom █ █
█ █ does not necessarily mean respect from █ █
█ █ white people. █ █
█ █ █ █
█ █ Finally, we also find allusions to █ █
█ █ fascism. The plague, which is affecting █ █
█ █ the town, has pushed the elders to █ █
█ █ imprison the sick in a camp guarded by █ █
█ █ turrets. Whilst Nazism is commonly █ █
█ █ called the brown plague, it is clear █ █
█ █ that the camp in this film makes a █ █
█ █ reference to the concentration camps and █ █
█ █ that the lack of resistance by the █ █
█ █ town's inhabitants bears witness to the █ █
█ █ remorse felt by Italians towards their █ █
█ █ actions during the Second World War. █ █
█ █ █ █
█ █ While Franco Nero plays Keoma with a █ █
█ █ good dose of mystery thanks to his █ █
█ █ intense looks, the direction of Enzo G. █ █
█ █ Castellari succeeds in creating a █ █
█ █ surreal atmosphere and a lyrical █ █
█ █ violence which, without doubt, proves to █ █
█ █ be the driving force of this film. █ █
█ █ ---------------------------------------- █ █
█ █ Surprisingly well written by B-movie █ █
█ █ star George Eastman, this is possibly █ █
█ █ the best Western ever to come out of █ █
█ █ Italy!s █ █
█ █ █ █
█ █ Franco Nero (Hitch Hike, Day of the █ █
█ █ Cobra) stars as Keoma, a half-Indian █ █
█ █ gun-fighter with an Italian accent (?) █ █
█ █ who tries to protect his town from █ █
█ █ powerful bandit Caldwell, played by █ █
█ █ Donald O'Brien (Trap Them and Kill Them, █ █
█ █ Doctor Butcher M.D.), and his huge gang █ █
█ █ of thugs, while his three half-brothers █ █
█ █ conspire against him. The town happens █ █
█ █ to be plague-stricken, and Caldwell will █ █
█ █ not let anyone leave, allowing him to █ █
█ █ run the town and deport all the sick █ █
█ █ people to a remote camp where they are █ █
█ █ left to die. Keoma does not sit by idly █ █
█ █ and let this happen. He rescues a young █ █
█ █ pregnant woman Olga Karlotos (eye-scene █ █
█ █ chick in Zombie) from being taken to the █ █
█ █ camp and enlists the aid of his elderly █ █
█ █ father (William Berger from Hercules and █ █
█ █ Tex Willer and the Lord of the Deep) and █ █
█ █ his friend (a sad old black guitar █ █
█ █ player named George, Woody Strode from █ █
█ █ Final Executioner and Oil: The Billion █ █
█ █ Dollar Fire) to fight off Caldwell and █ █
█ █ his three brothers. █ █
█ █ █ █
█ █ At first this one is merely an OK █ █
█ █ western with the usual riding around on █ █
█ █ horseback to the tune of Guido and █ █
█ █ Maurizio De Angelis's excellent music █ █
█ █ with the occasional gunfight. However, █ █
█ █ the big climax (in which Keoma wipes out █ █
█ █ about 90% of O'Brien's giant gang) is █ █
█ █ completely mesmerizing, artfully done, █ █
█ █ and has more violent deaths than all of █ █
█ █ Quentin Tarantino's and Robert █ █
█ █ Rodriguez's movies combined! The █ █
█ █ sequences toward the end of the film are █ █
█ █ all quite astonishing, especially the █ █
█ █ great shot where O'Brien gets his just █ █
█ █ deserts along with two of his henchmen. █ █
█ █ Some shots, like the slow motion shot of █ █
█ █ Keoma running with several soldiers █ █
█ █ chasing him, are great just in their █ █
█ █ simplicity and emotional impact alone. █ █
█ █ █ █
█ █ There are only a few downfalls to this █ █
█ █ movie. First, the pace sometimes grinds █ █
█ █ to a halt as Nero wanders around quite a █ █
█ █ bit accomplishing absolutely nothing. █ █
█ █ Secondly is an almost fatal flaw; the █ █
█ █ otherwise great soundtrack (with some █ █
█ █ awesome guitar riffs) is accompanied by █ █
█ █ an idiotic sung lyrical narrative of █ █
█ █ everything that has happened, is █ █
█ █ happening, and what may possibly happen █ █
█ █ in the future! I found this extremely █ █
█ █ annoying at times as some of the lyrics █ █
█ █ are completely inept! However it is hard █ █
█ █ to get that sound of a woman singing █ █
█ █ "KE-O-MAAAAAAAAAAAHHH" out of your head █ █
█ █ for a few days. Also, whoever the male █ █
█ █ singer is (the same guy who did the █ █
█ █ singing for the English language version █ █
█ █ of Sandokan and Street Law, sounds like █ █
█ █ an awful Bob Dylan or Leonard Cohen █ █
█ █ wannabe. █ █
█ █ █ █
█ █ Director Enzo G. Castellari (who later █ █
█ █ distinguished himself with such cult █ █
█ █ classics as Great White and 1990: The █ █
█ █ Bronx Warriors) handles the action █ █
█ █ scenes with unparalleled flair. The █ █
█ █ ample use of slow motion is powerfully █ █
█ █ effective as is his use of quick cutting █ █
█ █ in tension-filled scenes. I also really █ █
█ █ like the few handheld camera shots, like █ █
█ █ the one where the camera circles around █ █
█ █ Keoma before he gets in a big shootout █ █
█ █ with the soldiers. This definitely was █ █
█ █ the genre where good ol' Enzo G. was █ █
█