Il ritorno di Ringo (The Return of Ringo) comes from director Duccio Tessari, who also co-writes the screenplay with Fernando Di Leo. The cast includes Giuliano Gemma, Fernando Sancho, Hally Hammond, Nieves Navarro, Antonio Casas, George Martin and Manuel Muniz. Ennio Morricone provides the music, and Francisco Marin is in charge of cinematography. Following his service during the American Civil War, Ringo (Gemma) returns to Mimbres hoping to resume his life as it was before the conflict. He discovers that the town is under the control of Mexican bandits led by brothers Paco (Martin) and Esteban Fuentes (Sancho), whose influence extends even to Ringo’s wife, Helen (Hammond). No Entry For Dogs, Gringos And Beggars. Serving as a sequel to A Pistol for Ringo (1965), with the original team reuniting for a new story and setting, this film is among the stronger follow-ups. After an opening song and some initial action that introduces Ringo (officially Montgomery Brown), the movie establishes itself as a mournful tale of revenge and rescue. The viewer quickly finds themselves supporting the protagonist’s quest to reclaim his life, save his loved ones, and liberate the town from oppressive and racist rule. It's a traditional Western story told with style at an unhurried pace; the characters are well-developed because they are given time to breathe and all contribute meaningfully to the plot Tessari is guiding us through. I've come back Paco Fuentes! Sancho and Martin deliver memorable performances as the villains, while Gemma rises to the challenge of portraying the hero, and he succeeds admirably. Ringo is a compelling character, his world turned upside down and deeply wounded. He endures beatings, stabbings, and emotional trauma, but fights with courage and intelligence. He’s undeniably cool; during difficult times, he can climb ropes one-handed, load his rifle the same way, and even drop from rooftops to execute precise kills. This is certainly a Spaghetti Western hero for the ages. The film also benefits from the natural beauty of Hammond (exceptionally gorgeous) and Navarro (undeniably sexy), who complement the darker aspects of the story and its characters’ actions and moral compasses. The filmmakers include a number of colorful supporting characters, such as a florist, an alcoholic sheriff, and a fortune teller. The technical credits are outstanding. Tessari demonstrates a keen eye for striking visuals, like Ringo's slow walk down the street, his image transformed by colored glass windows; the lighting used to depict Ringo and Helen’s reunion; Ringo firing rapidly with a bandaged arm as a brace; symbolic touches such as a knife thrown into a heart drawn on a tree; and of course, the justly famous scene of Ringo in a doorway with a dust storm swirling around him – a moment that is both chilling and thrilling. The stunt work is also impressive; within a genre known for its exaggerations, it’s refreshing to see so many falls executed with believable realism, especially during the film's exciting final act. This last section showcases the hero at his best, as buildings and people are brought down by bullets (thanks to that distinctive Butterfly repeater!), leading up to the desired outcome. Then there’s Morricone, whose score is among his finest outside of his collaborations with Leone. It’s a blend of emotions, weaving around the main character and occasionally swelling to dramatic heights for key scenes, featuring an especially poignant music box motif. Morricone's work enhances what is already a superb Spaghetti Western filled with blood, brains, and bravery, making it well worth seeking out for anyone interested in the better examples of this film subgenre. 8.5/10

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