In the background, we detect a solitary rider, while in the foreground a gun sits on the table. Having watched For a Few Dollars More, we prepare to hear a bullet. However, what seemed like a barrel looked to be a piece of wood. The lone rider who we saw in the background, is asked to sit around the campfire by Django (Saxson). He is a bounty killer, and their target is a man known as Garvin. In this film, Django’s true name is Garvin too, and the dead guy happens to be his father. Thus, Django shoots the bounty killer, takes the father’s body into town, and collects the bounty himself! In town, he is informed by the local oddball Gordon (who has too much agnosia and pleasures himself with the sight of gold, money, and riches, so he prefers to spend his time in the local bank) that he has become the joint owner of both the bank and the saloon. It does not take long for him to understand that his father was set up by his business partner Kluster, who is now trying to eliminate the son.
In the first scene, a lone rider pulls the trigger, and the barrel zooms in and reveals a piece of wood; in the first of many head references to Sergio Leone, is the scene with the luckiest of Colonel Mortimer. The character reveals themselves as a comical twist as one attempts revenge against their wife. No, this film seeks a different purpose (we even see the main character in women’s clothing!) as it skimps the boundaries of comedy and thorough genre definition: produced within the climactic era of the genre, the restraint towards violence is quite strong along with stirrings of affection towards the primary actor who conducts their self in a dreadful and unethical manner. It is evident that the title of this film is simply a grab to make money out of Corbucci’s superb movie Django, however, the character Saxson played has nearly nothing in common fame Death Avenger with a machine gun casket. Django Garvin is rather a light-hearted fellow quite observant of ladies, much more like Gemma’s Ring than Nero’s Django. Though, the death of the father sets off motion, can hardly be termed as an avenger.
Indeed, he has had to protect himself at every turn, first in several loud fistfights with Kluster’s thugs then in a complete and drawn-out shoot-out from where he receives a desperate wound (albeit for a short time).
De Martino’s movie is closer to the so-called ‘populist’ spaghetti westerns in which there is always one antagonist who combats one or more corrupt local officials, which is consistent with the Italian notion that one must never trust any official. Those sorts of Westerns also portray the dichotomy between the relatively backward, agrarian South and the more sophisticated and industrialized North. This notion is cleverly symbolized by the film’s magnificent costume design Django wears the worn-out outfit of the countryman, while in town most people wear the most impressive costumes ever seen in a spaghetti western: not only does Kluster and his wife look ultra-chic, Kluster’s henchman is well-dressed and Fernando Sancho looks as if he is preparing for the catwalks of Milan.
Though Saxson does not display any dominating charisma like Nero of Gemma, he counters using what is almost a self-parodying form of acting. Furthermore, the excellent support provided by Sancho and Galli in their rare roles has paid off. Sancho shines as the hero’s comical side-kick, while Galli Stewart plays the evil woman who flirts with every man she meets. The script is relatively sophisticated, although it combines violent material with comedy and even touches on slapstick which makes the film uneven as a whole. De Martino expertly utilizes the widescreen format, particularly in what is undoubtedly the best scene in the film, where the four main characters walking into and surrounded by the camera from a distance from different angles is the ideal capture. It wouldn’t surprise me if Enzo was responsible for those rumbustious fistfights, he was allocated the role of director’s assistant after all. The movie, Django Spara per primo, is not considered one of the great spaghettis, however, there is a reason it is entertaining and worth the watch, particularly for those who view a more carefree outlook. Just be sure to not miss that riotous final scene, where Saxon’s mirroring George Eastman introduces himself.
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