No requiem for San Bastardo

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German title No requiem for San Bastardo
Original title A Town Called Bastard
Country of production UK , Spain
original language English
Publishing year 1971
length 94 minutes
Age rating FSK 18
Director Robert Parrish
script Richard Aubrey
S. Benjamin Fisz
music Waldo de los Ríos
camera Manuel Berenguer
cut Bert Bates

No Requiem for San Bastardo (original title: A Town Called Bastard ) is a film by Robert Parrish shot in the style of the Spaghetti Westerns in 1971. In Germany, the film has also been released under the title A Town Takes Vengeance .


In 1895 a group of revolutionaries massacred the population of the small Mexican town of Bastardo. Ten years later, the nasty scoundrel Don Carlos is in charge there, while the priest was actually the leader of the recent attack and is now hoping for forgiveness and forgetting through restoration work and spiritual support. However, things turn bad for him when the Texas widow Alvira Montes arrives with her allegedly mute coachman "Specter" and offers $ 20,000 in gold if she can drive back to El Paso with the body of the murderer of her husband, who was buried in Bastardo . Despite cleverly calculated precautionary measures, villain Carlos senses easy prey for the blonde lady and unceremoniously lets the whore "Perla" and her kleptomaniac brother José hang up, from whom he had pressed confessions. But during the act of killing, the mother of the two arrives and shouts the supposedly true name of the perpetrator shortly before she is shot: "Águila" (Spanish for eagle).

"Águila" was also the word that the nameless priest - a former Irishman - had shouted before the recent attack. The search for him is difficult, especially since the widow has become suspicious. Carlos therefore wants to get rid of her, but a first attempt by his henchman Calebra ends fatally for the same because of the attentive "Specter". The attempt to leave the fortified city with the hearse fails of course, and so Alvira is forced to seek protection from the priest - who seems to know her. Then Carlos loses his temper more and more; When he calls his crony "La Bomba" an idiot several times, he turns free and unceremoniously ties his boss to a long pole to enable him to negotiate with the priest who is in a high room - the conversation does not take place because Carlos succumbs to his wounds.

Things could calm down now, but the opposite is the case: Suddenly the Mexican army appears in Bastardo to look for the mysterious "Águila", led by the priest's former comrade Benito, now just "El coronel" (span . for Colonel) called. The former friendship is not far off: the priest refuses to cooperate, and the officer threatens to hang many city dwellers if he does not get hold of the revolutionary. He does not stop at words, a little later begins with multiple executions. Sanchez - an old blind man who has just lost one of his two sons - offers the colonel his help; After all, the wounded "Águila" and a friend once hid in their home from the Federales. Just by feeling his face he would recognize the person he was looking for, he would dispel the concerns of the uniformed man, and when, by chance, he felt the priest's face, he believed it was "Águila". The incident is illuminated in a long flashback: The priest (then still a revolutionary) had persecuted a comrade-in-arms named “Paco” into America, who was supposed to buy weapons, but the money was cheered by women and dancing. Instead of killing the traitor, he released him never to return, which was to take revenge immediately: "Paco" went over to the enemy and betrayed a plan of attack, so that many insurgents died and the second leader was seriously wounded. The priest was just able to transport him to the blind man's quarters.

“El coronel” seems to have done its job; Just for the sake of form, his ex-boyfriend is supposed to be transported to Ciudad de México and executed there. Alvira, who is still in Bastardo, does not believe the surprising revelation and asks the blind man again. When the latter had a severe coughing fit, his son Manuel asks a guard for help, but when he did not react, he strangled him with the barbed wire (the residents had been penned in because of the “Águila” search) and started a rapid revolt . During the slaughter, the priest and the colonel meet in the church they once stormed, and even flinch over the possible winner of the current dispute. That is quickly clear, because the poor Mexicans, led by the blind man and the defected soldier Julio, enter the church; the officer is led by Sanchez sen. stabbed. But there is no peace for the priest, because later Alvira comes into the church building with “Specter” and has to learn that “Águila” was no other than her no longer living husband; the blind man had only mixed up the two. Because the priest also admits to having killed that crippled revolutionary at his own request, the coachman “Specter” shoots him cold. He and the satisfied widow take the body with them to America ...


The critics of the work found little positive. The lexicon of international film saw a “Euro Western about the myth of the revolution, brutal, disheveled and formally completely inadequate”; similar to Ulrich P. Bruckner : Confused, rather boring English western with a good cast. Joe Hembus argues that the film is impostorative because he "pretends to be able to say something about the nature of the legend and its significance for the revolution" and criticized "a lot of embarrassing symbolism and countless variations of cruelty".


Parts of the film were directed by Irving Lerner , but this is not mentioned in the credits.


Robert Shaw will be spoken by Holger Hagen , Telly Savalas by Arnold Marquis , Fernando Rey by Otto Preuss , Al Lettieri by Klaus Löwitsch and Stella Stevens by Rose-Marie Kirstein .

Web links

Individual evidence

  1. No Requiem for San Bastardo. In: Lexicon of International Films . Film service , accessed July 20, 2018 .Template: LdiF / Maintenance / Access used 
  2. Ulrich P. Bruckner: For a few more corpses. Munich 2006, p. 502
  3. ^ Joe Hembus : The Western Lexicon. Munich 1995, pp. 356/357