Subtitle They Call Me Trinity 1970 - This Subti...
By 1970, the spaghetti western genre was looking tired, until Enzo Barboni made this amiable romp. Terence Hill plays the 'Trinity' of the title, a blue-eyed gunslinger so laid back as to make 'The Man With No Name' look like The Milky Bar Kid. Teaming up with his brother 'Bambino', a bearded giant of a man portrayed by Bud Spencer, they come to the aid of a Mormon community under threat from a greedy landowner played by Farley Granger. Hill and Spencer make a great double act. The film manages to be hilarious without being crude or offensive. Highlights include Trinity shooting a man dead without once turning round, some improvised surgery to remove a bullet ( using whisky as anaesthetic ) and, of course, the climax in which the normally passive Mormons engage in battle with the Major's men. Great music here! Unsurprisingly, the film broke box office records in Italy and led to a sequel 'Trinity Is Still My Name' which, alas, wasn't nearly as good.
subtitle They Call Me Trinity 1970 - This Subti...
Terence Hill had been acting in movies for almost twenty years before he took the lead in "Unholy Four" director Enzo Barboni's "They Call Me Trinity" (1971) with his favorite co-star Bud Spencer. Initially, Hill made his cinematic debut in 1951 as a child actor in director Dino Risi's "Vacation with a Gangster" under his real name Mario Girotti. Later, Girotti would appear in co-directors Gillo Pontecorvo & Maleno Malenotti's "The Wild Blue Road" (1957), and director Luchino Visconti's "The Leopard" (1963). When Franco Nero became popular, Nero's popularity was so vast that he couldn't appear in every Italian film so the Roman film industry found suitable substitutes, among them Maurizio Merli and Terence Hill. Hill starred in several Spaghetti westerns, including a Nero-esquire oater, director Ferdinando Baldi's brilliant "Viva Django!" (1968) as well as in the Giuseppe Colizzi incomparable trilogy, "God Forgives, But I Don't" (1967), "Ace High" (1968), and "Boot Hill" (1969), where he met Bud Spencer.Although it did not qualify as the first Spaghetti western parody, "They Call Me Trinity" cemented Hill's claim to fame, and he became famous in his own right. Italian film comics Franco Franchi and Ciccio Ingrassia had starred in the parody picture "Two R-R-Ringos from Texas" as early as 1967. Meantime, this landmark, low-brow western slapstick shoot'em up roughly imitates the same trail as George Stevens' "Shane" with Alan Ladd and John Sturges' "The Magnificent Seven." Not only did "They Call Me Trinity" turn Terence Hill into an international box office superstar, but also Bud Spencer and he wound up co-starring in 18 films. They met on Colizzi's "God Forgives, But I Don't" when Hill replaced actor Pietro Martellanza after the latter broke his leg and found himself acting with Spencer. Ironically, cinematographer-turned-director Enzo Barboni is reported to have persuaded Sergio Leone to watch "Yojimbo" because it would make a great western. Barboni lensed his share of Spaghetti westerns, including "The 5-Man Army," "The Hellbenders," "A Long Ride from Hell," and "Viva Django!"Although it is not the first Spaghetti spoof, "They Call Me Trinity" ranks as one of the top five Italian western comedies, bracketed by its side-splitting sequel "Trinity Is Still My Name" and director Tonino Valerii's "My Name Is Nobody." Unfortunately, Barboni never delivered a third "Trinity," but he did make an inferior spin-off western "Trinity & Bambino: The Legend Lives On." Incidentally, do not be fooled into believing that director Mario Camus' "Trinity Sees Red" is a "Trinity" sequel because it is not. Furthermore, Terence Hill does not play Trinity. Presumably, the distributors were banking on Hill's identity as Trinity to see the film. Terence Hill displayed a knack of comedy so that he could move from a dramatic role to a comedic one. Trinity's first appearance makes it clear he is not a hero in the western tradition of John Wayne riding tall in the saddle. Instead, Trinity sprawls out comfortably on a travois, dragged by his faithful horse that attracts his attention when have reach a stopping point like the Chaparral Stage Coach Station.Covered from head to toe in dust, Trinity (Terence Hill) fetches his horse some hay and enters the station. The owner gives him a plate of beans. Two bounty hunters with a Mexican in their custody watch in fascination as Trinity polishes off his beans. As he leaves, Trinity takes the poor Mexican with him to the surprise of the bounty hunters. As he strolls out the door with his back to the bounty hunters, they try to bushwhack him. Trinity casually plugs both of them without a backward glance. He just keeps on traipsing along with the little Hispanic to his horse. This scene depicts Trinity's incredible marksmanship. Later, we discover that he can slap a man faster than the other man can draw his own six-gun. The long funny scene when Trinity appropriates the huge pan of beans and wolfs them down with a slab of bread is an amusing gastronomic gag. Thereafter, eating beans became a trademark for both Trinity and Hill. Altogether, Hill is just plain, downright affable as the protagonist who you cannot help but like because he radiates some much charisma.In the next scene, Trinity rides into town where his half-brother Bambino (Bud Spencer) is masquerading as the town sheriff. Bambino is known as 'the left hand of the devil' and he guns down three tough-talking gunslingers when they challenge his authority. As it turns out, Bambino escaped from prison, shot a man following him, learned the wounded man was a sheriff and then took his job. Bambino is waiting for his fellow horse rustling thieves, Weasel (Ezio Marano of "Beast with a Gun") and Timmy (Luciano Rossi of "Deaf Smith & Johnny Ears") to arrive so they can head for California. Major Harriman (a mustached Farley Granger of "The Man Called Noon" doing faux Southern accent) is trying to run a community of Mormons out of a scenic valley where he would rather see his horses grazing. "Either you leave this valley, old man, or I'll bury you in it," Harriman assures Brother Tobias (Dan Sturkie of "Man of the East"), the leader of the Mormons. Eventually, Harriman teams up with an evil Mexican bandit, Mezcal (Remo Capitani of "The Grand Duel"), and his army of horse thieves. Of course, Trinity and Bambino thwart the Major and the Mexicans and save the Mormons from sure suicide.The slapping scene in the saloon between Trinity and the Major's hired gunmen is hilarious. Bambino and Trinity get along for the most part, but Bambino has little respect for his half-brother's apparent lack of ambition. Nevertheless, the comedy emerges from their clash of personalities. "They Call Me Trinity" relies on broad humor, some shooting, and a lot of fist-fighting, but this western is neither violent nor bloody. The opening theme song provides a thumbnail sketch of Trinity and it hearkens back to similar theme songs in American westerns made in the 1950s.
Terrence Hill (actually, his real name is Mario Girotti) plays Trinity--the world's laziest cowboy hero. He used the least amount of energy possible when he fights--yet like any Italian western hero, he's practically unstoppable.One day Trinity wanders into a town and finds that his brother, Bambino (Bud Spencer--whose real name is Carlo Pedersoli) is the sheriff. This is odd, since his brother is a crook. Well, it turns out that is shot the guy coming to town to become sheriff and decided to pose as the sheriff. However, he's actually now doing a pretty good job as sheriff--mostly because he hates the big boss-man, the Major (Farley Granger). In fact, both he and Trinity gang up on the Major because the Major is trying to force the Mormons off their own land--and that just isn't nice.Now this brings us to a bit of a problem with the script. The Mormons are portrayed almost exactly like Quakers and they talk about how their beliefs preclude them from violence. However, that is NOT a Mormon belief and there were lots of times the sect resorted to violence--often to protect themselves but occasionally to commit a massacre. So, if you understand about the history of the religion, the major underpinning of this plot really doesn't make any sense. Regardless, the film is reasonably enjoyable and harmless fun--though the big fight sequence near the end was overlong. Not great by any stretch but enjoyable.
The book Jesus and John Wayne has been the topic of immense discussion over the past few months. The subtitle of the book captures the key idea developed by Kristin Kobes Du Mez: "How white evangelicals corrupted a faith and fractured a nation." She argues that the election of Trump was not an aberration, but the natural result of certain militant, patriarchal views adopted by evangelicals. Is she right? Is she wrong? In this discussion, Sean and Scott highlight some positives of the book (and areas evangelicals need to take seriously), but they also raise some cautions and areas of disagreement with her key premise.
Sean McDowell: So when I see a subtitle like this, I immediately think this tells us about the wider culture that we live in, there's an audience automatically built in when you blame whites who are in power, evangelicals, a part of the Christian tradition who are seemingly in power. It tells us something about the cultural moment that we find ourselves.
Sean McDowell: So the premise, she starts out really quickly and describes. She asks a question that I think it's a great question. She says, how could family values Conservatives support a man namely Trump who floated every value they insisted they held dear? So historically speaking, how do many evangelicals come to support this man Trump, who in her mind, and she fills in some of the details here about him being anti-immigration, nationalist, racist, sexist, that's the lens through which she understands him. I'm not saying whether he is or whether he's not, but this is how Trump is painted in the book. 041b061a72