Corre Homem Corre (Corri Uomo Corri, 1968), Sergio Sollima


O terceiro e último western de Sollima não é tão bom quanto os outros dois, mas ainda assim é de alto nível. O jornalista e crítico de cinema Marco Giusti tem uma frase que resume a obra com perfeição: “O filme funciona mais nos seus pequenos momentos que no quadro geral” (Dizionario del Western All’Italiana, Ed. Oscar Mondadori). Sem a produção do poderoso Alberto Grimaldi, parece que nem tudo saiu como o Sollima queria. O cubano Tomas Milian retoma o célebre personagem Cuchillo Sanchez de O Dia da Desforra em mais uma performance memorável. Embora os westerns antecessores de Sollima também possuam forte conotação política, é em Corre Homem Corre que ele se aproxima totalmente dos Zapata Westerns (ou Tortilla Western, como dizem os italianos), com uma corrida em busca de um tesouro que, de uma forma ou de outra, está destinado a Revolução Mexicana (como visto em outros exemplares desse sub-gênero). Donald O’Brien interpreta um dos sujeitos interessados na fortuna, única e exclusivamente por interesses pessoais, mas acaba se transformando em prol da Revolução. Igualmente interessante os personagens da também cubana Chelo Alonso, que vive uma mulher apaixonada por Cuchillo; Linda Veras, supostamente uma fanática religiosa do “Exército da Salvação”; José Torres, como um idealista e poeta que transmite um pouco de consciência política a Cuchillo; e John Ireland, estranhamente convincente no papel do líder revolucionário Santillana. A música de Ennio Morricone e Bruno Nicolai contribui bastante o clima de “proletariado terceiro-mundista vs tiranos opressores”, com destaque para a bela canção “Espanto en el corazon” cantada por Tomas Milian numa das versões (em outras quem canta é Peter Boom). Um filme menor entre os westerns de Sollima, porém grande se comparado a centenas de exemplares do gênero dirigidos por nomes de menor expressão.


por Heráclito Maia & Otávio Pereira


7 thoughts on “Corre Homem Corre (Corri Uomo Corri, 1968), Sergio Sollima

  1. Tomas Milian (1932- ) Ator

    Tomas Milian nasceu em Cuba, mas mudou-se muito cedo para os Estados Unidos. Para tentar a carreira de ator estabeleceu-se na Europa no inicio dos anos 60. Após participar de filmes como Boccaccio ’70 (1962) e The Agony and the Ecstasy (1965), fez sua estréia no Spaghetti Western com o filme El Precio de un hombre, dirigido por Eugenio Mertin em 1966. Já no seu segundo Western, “o Dia da Desforra” (Resa dei conti, La -1966), tornou-se um grande astro, vivendo o papel de “herói do povo” que marcaria a sua carreira. Em seguida, estrelou Se sei vivo spara (Django, Kil!), um dos mais bizarros westerns de todos os tempos, direção de Giulio Questi. Mesmo num filme surreal como este, Milian não deixou sua imagem, atuando como um mestiço lutando contra os poderosos. Atingiu o auge de sua carreira no fim dos anos 60 em filmes como Tepepa (1968) e Companeros (1970). Em 1970, veio ao Brasil para filmar a versão italiana de O Cangaçeiro (que alem do título, não tinha muito em comum com o original brasileiro). Sua participação derradeira no Spaghetti Western foi com o polêmico “Os Quatro do Apocalipse” (1975). Nos anos 80, voltou para os EUA, atuando em filmes como Traffic e Amistad.
    Filmografia no Spaghetti western:
    Precio de un hombre, El (1966)
    Resa dei conti, La (O Dia da Desforra- 1966)
    Se sei vivo spara (Django vem para Matar- 1967)
    Faccia a faccia (Faca a Face, Quando os Brutos se Defrontam- 1967)
    Corri, uomo, corri (Corra, Homem, Corra- 1968)
    Tepepa (1968)
    Sentenza di morte (1968)
    Cangaçeiro, O’ (1970)
    Vamos a matar, compañeros (1970)
    J. and S. – storia criminale del far west (Sonny e Jed- 1972)
    Vita, a volte, è molto dura, vero Provvidenza?, La (1972)
    Ci risiamo, vero Provvidenza? (1973)
    Bianco, il giallo, il nero, Il (O Ultimo Samurai do Oeste/Três Homens Uma Lei- 1975)
    Quattro dell’apocalisse, I (Os Quatro do Apocalipse- 1975)


  2. “Characteristic of his style, director Sergio Sollima (Revolver) infuses this comedic spaghetti western with a heavy dose of leftist idealism, casting a romantic eye on the proletariat’s neverending struggle against the injustices of the corrupt, wealthy elite. The film’s humor comes from its protagonist, an uneducated Mexican peasant and petty thief, Cuchillo Sanchez, played by Tomas Milian (Django, Kill… If You Live, Shoot!). The character is something of a bumbler, even childlike, who has Lady Luck to thank for getting him out of most of the jams he finds himself in. No icy-cool bravado, no crack shooting like we’d see from Eastwood, Nero, or Van Cleef. There is such a character in Run, Man, Run but he is not the hero. Milian, in fact, never uses a gun the entire picture. Though proclaiming himself a “peaceful man,” his Cuchillo is heavily armed with an assortment of hidden knives he can throw with uncanny accuracy. But he only kills in self defense, avoiding bloodshed when possible. The more gratuitous mayhem he leaves to an American.
    Cuchillo’s a simple fellow, concerned only with living for the moment — filling his belly when hungry and finding relaxation in the arms of his feisty girlfriend Delores (Chelo Alonso). Thrown in jail, he shares a cell with Ramirez (José Torres), a poet and revolutionary. Political prisoner Ramirez is desperate to escape before his scheduled release the next day. An assortment of hired killers will be gunning for him the moment he steps outside. Ramirez possesses a very valuable secret — the location of a hidden cache of gold, worth millions, to be used to finance the revolution. He offers Cuchillo 100 dollars to help him break out that night and escort him across the border to Texas.
    Cuchillo succeeds in getting them out of the jail but Ramirez is shot down not long after by Riza (Danger! Death Ray’s Nello Pazzafini), the cutthroat leader of a bandito gang. The revolutionary’s dying words give Cuchillo clues where to seek the gold. At first the thief thinks only of taking the gold for himself but gradually realizes it can serve a higher purpose if used to help the people fight their oppressors. Trailing him every step of the way is Cassidy (Zombie Holocaust’s Donal O’Brien), a tall, mysterious American dressed in black, an ex-sheriff who’s absolutely deadly with rifle or pistol. (Basically, it’s the Lee Van Cleef part.) During the course of Cuchillo’s episodic adventures Cassidy appears as both friend and foe, alternately saving and threatening Cuchillo’s life in quest of the hidden treasure. Eventually the Yanqui joins forces with the Mexican peasant for the good of the revolution. Cuchillo will certainly need his help. Both Riza’s gang and a coldblooded pair of French mercenaries are keen to claim the gold either for themselves or the Mexican authorities.
    Sollima does a fine job of balancing his political message with the humor, sometimes slapstick in nature, of the Cuchillo character. He never lets one element get too heavy-handed or overpower the other. The Cuban-born Milian can be extremely hammy at times but with such a broad character the approach generally works. O’Brien is interesting in the more clichéd part of the implacable gringo gunslinger, despite a couple of real groaners for quips; with a bigger budget it’s exactly the kind of role Lee Van Cleef would’ve been hired for. That Cassidy is played by a relatively unknown actor actually adds to the enigmatic nature of the character. (It also serves to keep Milian front-and-center as the film’s ‘star’.) Perhaps too enigmatic… Cassidy’s conversion from soldier of fortune to supporter of the revolution — to include an outburst of proletarian dogma — seems a bit odd. (“You’re hiding out here in this rathole waiting for the revolution,” he tells a trio of wavering intellectuals. “But the revolution will never come until each one of you lets it burst out, from inside.”)
    The film does drag in spots, particularly in the middle section. It feels to be about 15 or 20 minutes too long. There are a lot of characters on hand for such a basic story, as Cuchillo also encounters a rebel Mexican general (one-time Hollywood leading man John Garfield, who’s dubbed even in the English version) and a Bible-thumping Salvation Army officer (Linda Veras) not above lusting for gold. Also, considerable time is spent on Cuchillo’s spitfire of a girlfriend, who vows to chase him down until he marries her. But Milian’s antics are genuinely amusing; Sollima successfully pulls off the action sequences and the requisite tension-filled standoffs. As a director he’s particularly adept at making full use of the widescreen frame for his compositions, of which there are a number of interesting ones on display. The film’s score, credited to Bruno Nicolai but also attributed in part to movie music maestro Ennio Morricone, is simply terrific. Its main theme features one of those insanely catchy melodies you can never quite get out of your head once you’ve heard it. I still find myself unconsciously whistling the thing…”


  3. Comentário sobre o DVD lançado lá fora em janeiro de 2003:
    Another first-rate disc from Blue Underground. A/V quality is high and the widescreen 2.35:1 transfer is anamorphically enhanced for 16×9 TVs. Two mono audio tracks are provided, English and Italian, with optional subtitles just a key-press away. The clean, hiss-less English track is far and away the superior of the two, as the Italian one sounds very muffled with occasional bursts of static. Still, it’s nice to have the option. (Unless you speak Italian, you’ll want to turn on the subtitles for the first few minutes of the movie even if watching the English version. The film opens with some poetry spoken in that language by Milian, as the camera pans over a Guernica-type painting of a massacre of peasants.)
    A number of interesting, worthwhile extras are on hand. Aside from the usual staples of theatrical trailer, poster/still gallery, and talent bios, there’s the alternate Italian main titles sequence (viewable separately) plus two documentaries. The 14-minute Run, Man, Run: 35 Years of Running features recent interviews of Sollima and Milian discussing the Cuchillo character and the production of the film. The rare Westerns Italian Style (38 minutes) is an oddball documentary shot in 1968 and put together in an almost Mondo Cane style. It practically turns surreal when directors Sollima and Sergio Corbucci are asked questions about making spaghetti westerns, only to have them respond in obviously dubbed English like the characters in their films.
    Run, Man, Run is slated for release next week, available as part of Blue Underground’s Spaghetti Western Collection 4-disc box set (which also contains Django, Kill, Mannaja, and the original Django starring Franco Nero). The Run, Man, Run DVD will be sold separately as well.



  4. Download do filme na net:

    Torrent:Spaghetti Western Collection: Run man Run / DVDR Change name:You need to register Category:Movies / DVD-R Change cat.:You need to register Private Client:Hide your personal activity while downloading torrents with
    Size:4453 MB
    Seeds/Leechs:2/4 Check it now
    Last check:2009-05-16 15:46:32
    Tracker Rate:1845/1003


    Corri uomo corri – Run man run / Sergio Sollima 1968

    The legendary Tomas Milian stars as Cuchillo, a knife-throwing thief on the run from murderous bandits, sadistic American agents, his hot-blooded fiance (Chelo Alonso) and a sheriff turned bounty hunter (Donal OBrien), all of whom are gunning for a hidden fortune in gold that could finance the Mexican Revolution.

    Co-writer/director Sergio Sollima packs this epic Western with bold politics, shocking violence, bravura performances (including John Ireland as General Santillana) and a brilliant score by Bruno Nicolai and Ennio Morricone.

    Blue Undergrounds DVD, compressed with DVD-shrink

    English, Italian

    2.35:1 / 16×9


    # Run Man Run: 35 Years Running – Interviews with Director Sergio Sollima and Star Tomas Milian
    # Westerns Italian Style: A rarely seen ’60s documentary about the Spaghetti Western phenomenon containing behind-the-scenes footage of “The great silence” and “Run man run” as well as interviews with Directors Enzo G. Castellari, Sergio Corbucci and Sergio Sollima
    # Theatrical Trailer
    # Italian Main Titles Sequence
    # Poster & Still Gallery
    # Talent Bios



  5. Run, Man, Run

    No sooner has he arrived back in town than Cuchillo (Tomas Milian), the knife-wielding rogue introduced in The Big Gundown finds himself in jail again, for yet another crime he didn’t commit. Cuchillo’s cellmate, Ramirez, is a dissident intellectual whom the government has uncharacteristically pardoned. He knows, however, that they are only freeing him so he can lead their men to $3 million of hidden gold intended for the revolucion, and so gets Cuchillo to help him escape.

    Mission accomplished the two men head for Ramirez’s village base. Immediately Santilla (John Ireland) and his bandits show up and begin shooting villagers in a bid to force Ramirez to reveal the gold’s location. Fortunately some of Ramirez’s fellow revolutionaries, along with an enigmatic gringo named Cassidy (Donal O’Brien) also arrive to force Santilla’s men to retreat, but are too late to prevent Ramirez being fatally wounded. Before dying he manages to tell Cuchillo the exact location of the gold, a printers in the Texas town of Burton City.

    Thus Cuchillo goes for the gold, Santilla, government agents, Cassidy and – last but not least – his loyal, long-suffering, fiancée Dolores (Chelo Alonso) in hot pursuit…

    Sergio Sollima’s third and last spaghetti western downplays the radical politics of its predecessors The Big Gundown and Face to Face somewhat, instead favouring a more straightforward picaresque adventure in the spirit of Sergio Leone’s For a Few Dollars More and, especially, The Good the Bad and the Ugly.

    Politics aside, Sollima shows an assured grasp the iconography of the spaghetti, uses the widescreen canvas to good effect and successfully handles the ritualised corridas and other stock situations.

    Milian, deploying the Method to convey Cuchillo’s innate, animal-like cunning, and O’Brien, managing to simultaneously do a fine Lee Van Cleef impersonation while also making the Van Cleef role his own, deliver fine performances.

    One of those seemingly effortless Morricone scores (Bruno Nicolai was credited for contractual reasons), including a very catchy title theme to which Milian contributes vocals, provides the icing on the cake.

    The only obvious weakness is a slight flabbiness. On this showing Sollima lacks his namesake’s ability to deliberately pace a film. Something always has to be happening, leading to an excess of ‘out of the frying pan into the fire’ incidents for Cuchillo and some unpredictable, at times unconvincing, shifts in allegeiance. (It’s worth noting here how Cuchillo’s frequent costume changes – back and forth between the garb of a Mexican peon, Salvation Army soldier (!) and Texan Cowboy – are reminiscent of those undertaken by the trio in The Good, The Bad and the Ugly.)

    All told, Run Man Run is an enjoyable, well-made spaghetti. The only group I’d hesitate to recommended it to are the hardcore politicos, who might find Face to Face or even Jean-Luc Godard’s Wind from the East preferable.

    This Region 0 NTSC DVD from Blue Underground presents Run, Man, Run fully uncut and in its original 2.35:1 glory, enhanced for 16:9 televisions.

    Picture quality is remarkably good considering the film’s vintage and relative obscurity, being as good if not better than many films from the past decade. And, while the English and Italian soundtracks (with optional English subs) are only mono, they are clear and noise-free throughout.

    Blue Underground have, as usual, made a very decent job of the extras.

    A short documentary, Run Man Run: 35 Years Running interviews Sollima and Milian, who remember the film and their collaborations with affection. An alternative, broader, perspective on the spaghetti western phenomenon is provided by a second, longer documentary, Westerns Italian Style dating from the mid-1960s. Narrated by Frank Wolff, American veteran of many an Italian film (The Great Silence, Once Upon a Time in the West, Cold Eyes of Fear etc) and featuring interviews with Enzo G Castellari, Sergio Corbucci and Sollima, it’s somewhat cheesy but a worthwhile historical curiosity nonetheless.

    Rounding things off are the usual trailer, talent biographies and stills galleries, along with an alternate Italian title sequence.



Deixe uma Resposta

Preencha os seus detalhes abaixo ou clique num ícone para iniciar sessão:

Logótipo da

Está a comentar usando a sua conta Terminar Sessão / Alterar )

Imagem do Twitter

Está a comentar usando a sua conta Twitter Terminar Sessão / Alterar )

Facebook photo

Está a comentar usando a sua conta Facebook Terminar Sessão / Alterar )

Google+ photo

Está a comentar usando a sua conta Google+ Terminar Sessão / Alterar )

Connecting to %s