I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

1968 was a very good year in films. For most specialists though, it is the emblematic year of a tumultuous period in world politics, and it has been mostly analyzed by historians, sociologists and philosophers. An analysis of films from this perspective is always interesting, but I know very few works dealing with this topic: it would be propitious to do it for the 50th anniversary of those events (in 2018), because during that year many major works were released, as varied as "if....", "Faces", "Memorias del subdesarrollo", "Night of the Living Dead", "Teorema", "2001: A Space Odyssey", "Fando y Lis" or "Salesman"… and this is just a handful. Of course, if we consider 1968 in film from the viewpoint of denunciation, militancy, pamphlets and banners, the honor would go to the monumental Argentinean film and masterpiece of world documentary, "The Hour of the Furnaces". In the field of genre, if we had to choose a paradigmatic 1968 European western, the obvious option would be "Once Upon a Time in the West", a drama about the expansion of civilization in the United States, through uncivil methods. However, the plot of "Run, Man, Run", another European western of 1968, combined the political-activist spirit and the fun of those days (to get an idea, the pop and soul hit-parades of the year are a big help, as well as films as "Joanna", "Vixen", and the like): the film is the culmination of Sergio Sollima's trilogy, preceded by "The Big Gundown" and "Face to Face". Here the action takes place against the Mexican revolution of the 1910s, a conflict of epic proportion with diverse sides, from agrarian problems to military struggle, class conflict, religious controversy and vandalism, without forgetting American interventionism. By choosing this background, the scriptwriters were able to address all these sides, to reflect the spirit of rebellion in 1968 in a costume drama, and to insert many contemporary slogans and common phrases of the left. In the end, though, the tone is more ironic and parodic than dramatic: with a leading character as peculiar as the thieving scoundrel Manuel "Cuchillo" Sánchez; with Dolores (Chelo Alonso), Cuchillo's assertive woman and a revised version of the "soldadera" (a female follower of soldiers), opposite to the Adelita of Mexican folk; and with Cassidy (Donald O'Brien), an atypical American bounty hunter who opts to support the Mexican revolution, it is logic that the final product is an amusing ride, full of emotions, laughs and tension. As Cuchillo, formidable Tomas Milian is probably the greatest Cuban actor that I have ever seen in films, while for the first time I was able to see his fellow countrywoman Chelo Alonso in a good role that justified her characteristic fierceness beyond caricature, although in many moments there is a lot of humor, as in a demented comic book. The film also contains scenes of great splendor, as the horse persecution through the snow; confrontations with guns and knives; a wonderful score by Ennio Morricone, who, for apparent contractual reasons, had to give composing credits to his collaborator and arranger Bruno Nicolai; a multi-colored gallery of villains, including the loud-mouthed bandit Riza (Nello Pazzafini), the greedy Salvation Army official Penny (Linda Veras) and two ruthless French mercenaries (Marco Guglielmi and Luciano Rossi); and revolution leaders with marked differences: poet Ramírez (José Torres) and megalomaniac Santillana (John Ireland). An original and enjoyable European western, and a very good motion picture, still vigorous 46 years after its first release.

Sergio Sollima's "Corri, Uomo, Corri" aka. "Run, Man, Run!" of 1968 is a great and very funny sequel to his 1966 masterpiece "La Resa Dei Conti" aka. "The Big Gundown". As Sollimas two other Westerns, this is once again a quite political film, but unlike "The Big Gundown" and "Face To Face", it is so humorous, that it could actually be described as a Spaghetti Western Comedy.After a dying revolutionary entrusts the hideout of a fortune to him, Mexican petty thief and excellent knife thrower Cuchillo (Tomas Milian, who already played Cuchillo in "The Big Gundown") is chased through the Mexican/Texan borderland by a gang of Mexian bandits, two French mercenaries, who work for the Mexican government, and Nathaniel Cassidy (Donal O'Brien), an American gunslinger who, although primarily interested in money, still has some of his former ideals left. Furthermore Cuchillo is constantly followed by his loving girlfriend Dolores (beautiful Chelo Alonso), who is sexy and passionate, but also very jealous and short-tempered. On his run, Chuchillo first meets, and travels with a pretty blonde Salvation Army activist called Penny (Linda Veras), much to Dolores' disfavor, and later teams up with Cassidy against their mutual enemies.The acting in this movie is great, especially Tomas Milian (one of my favorite actors) and Donal O'Brien deliver excellent performances as the two main characters. The supporting cast is also very good, the legendary John Ireland has a small role as a the leader of a Mexican revolutionary squad. The cinematography is great, and so is the music by Bruno Nicolai and Ennio Morricone. Many scenes in movie are very memorable, some of them very funny , a Mexican bandit gang leader orders his wife to hold off on giving birth to their child for a few days for example, because he doesn't want his son to be a "Gringo" born in the US, and the French hit men played by Luciano Rossi and Marco Guglielmi are two very satirical villains.Maybe not quite as brilliant as "The Big Gundown", but still an excellent movie, "Run, Man, Run!" is a witty, great and very entertaining Spaghetti Western, a must see for genre-fans, but also recommended to everybody else.

This is another fine Spaghetti Western, actually a sequel to THE BIG GUNDOWN (1966), from the same director-star team; in the accompanying interview, Sollima said that he felt the "Cuchillo" Sanchez character from that film (who, basically had been a subsidiary to Lee Van Cleef's lone gunman) was worthy of his own vehicle.However, having perhaps overdosed on films from this subgenre over the last two weeks, I was slightly underwhelmed by it (being preceded by my first viewing of the German Expressionist classic WARNING SHADOWS [1923; see my review elsewhere], which was well and truly impressive, may also have had something to do with this!): throwing in everything but the kitchen sink in the various characters' search for gold, the film still offered nothing that was essentially new!! In fact, here we have Tomas Milian's "Cuchillo" (whom Sollima admits to have been inspired by Toshiro Mifune's role in Akira Kurosawa's SEVEN SAMURAI [1954]) being helped, hindered or pursued by a mysterious American bounty-hunter, a couple of French mercenaries, a bandit horde, Mexican revolutionaries (led by John Ireland, who turns up for a two-minute bit!) and the Army - not forgetting the attentions of two beautiful women, his feisty and extremely jealous Mexican girlfriend and a statuesque Salvation Army officer (but who's not above a little greed)! All this tends to make the film episodic (but which doesn't hang together as well as the first film), overlong (for no real purpose) and exhausting (there's less action than usual for a Spaghetti Western, with little of it that's actually memorable, but a good deal of talk - this is one of the most overtly political films in the genre!). The comedy, too, is more pronounced than in THE BIG GUNDOWN and, indeed, apart from the lead character's constant running (hence the title) and distinctive knife-throwing, he seems to be a different person - as if the characteristics of roles Milian had played in the interim, such as those in FACE TO FACE (1967; also directed by Sollima) and DJANGO, KILL! (1967) had filtered through to his interpretation of "Cuchillo" here! There's still the shaky 'alliance' between the Mexican and an American ex-sheriff (played this time around by Donal O' Brien, as a cross between the Lee Van Cleef of THE BIG GUNDOWN and the William Berger of FACE TO FACE!) and even the double duel at the end - but with the former not being a chase and the opponents in the latter amounting to only minor characters, i.e. not alter egos as in the earlier film, these elements don't have quite the same impact (though I understand that Sollima couldn't merely repeat himself)! Besides, after two hours the film can only come up with an unresolved ending (with the gold still unclaimed); Sollima, however, feels it was the right thing to do!From this review, one might think that I didn't like the film all that much or that I spent too much space comparing it to other Spaghetti Westerns - but the star rating should indicate otherwise: it's solid, flavorful and enjoyable (if overly familiar) with a few good action highlights; best of all is the rousing and infectious score by Ennio Morricone (although, due to some contractual glitch, it was credited to his friend and habitual conductor Bruno Nicolai!).With respect to the supplements included on the Blue Underground DVD: I'll comment elsewhere on the TV special from 1968 about Spaghetti Westerns; the 17-minute featurette which includes interviews with both Sollima and Milian (it was especially great to listen to him talk about this period of his career, having missed out on his interview on BU's edition of DJANGO, KILL!) is wonderful: Sollima is as eloquent and witty here as he was on the interview featured on the Italian DVD of THE BIG GUNDOWN; Milian, apparently, was hurt by the director's put-down of his "Actor's Studio" background and here he comments how his carefully developed characterization of "Cuchillo" as a trapped rabbit was more or less ruined during the editing stages (Milian even allows himself a self-compliment by saying that he's "f***ing talented" but, then, he made poignant comments about his approaching old age)!; we're also offered the original Italian credit sequence (which adds some blue to the red tones of that in the English version), the trailer, a poster gallery and talent bios for both star (I was distressed to learn that when he returned to the U.S., all his great work in Italy meant naught to the Hollywood producers and that, in order to get even a supporting part, he had to reduce himself to testing for it!!) and director.

This film reuses the lead character of LA RESA DEI CONTI and is the third of the Sollima/Milian series. Cuchillo (spanish for "knife") is pretty skilled with this weapon and proves its usefulness in a lot of occasions. During the plot he acts as a maverick, with the only help of his fiancé Maria who wants him finally to get married. As a cultural counterpoint there is the other maverick Cassidy who is depicted as Nordic precise and cold. While being competitive at first they later join for purpose. Overall this sequel suffers from an overload of duel and fighting situations which often seem to be completely senseless, e.g. the duel between Cassidy and José in the beginning. The revolution is not more than a background. Less characters and more character development would have helped. Milian plays with his typical humor and very often we see his suffering face in repetitive scenes of torture. . Recommended for fans of the genre and of Milian. Rich daughter Penny (Linda Veras) is working for the salvation army and wears black fish-net stockings which I consider a minor inaccuracy ;-)The Nicolai/Morricone score is nice but too hammering for my taste, cinematography is well above average. For me this film is the most humorous of the 3 Sollimas.6/10