This enjoyable Euro-western opens with a scene that predates a similar scene that Sergio Leone wanted to shoot for "Once Upon A Time in the West" but couldn't persuade Clint Eastwood to appear in. Three tough-looking gunfighters ride into a town. One is dressed like the Man with No Name in a poncho. Another is dressed like Colonel Mortimer from "For A Few Dollars More," and the third is garbed like Django, except he rides a horse instead of pulls a coffin behind him with a machine gun in it. Our hero meets them in Main Street behind a wagon loaded with three coffins. "Any Gun Can Play" is a spaghetti western with an in-joke on spaghetti westerns since the hero here wipes out the three killers. Aside from a little too much comedy, especially in the acrobatic fight sequences, this is an above-average oater.

The notorious Mexican outlaw Montero (Gilbert Roland of "Barbarosa") and his gang of trigger-happy pistoleros rob an army train transporting $300-thousand dollars in gold coins across the frontier. Director Enzo G. Castellari of "Inglorious Bastards" stages the hold up from a variety of camera angles that thrust you into the forefront of the action. The bandits seize the locomotive along with the coach carrying the gold and separate it from the rest of the train that houses the U.S. Cavalry. While Montero and his gunmen keep the Cavalry pinned down, Pajondo (Pedro Sanchez of "Sabata") commandeers the locomotive, kills the engineer and his crew and trundles it away, leaving the other pistoleros behind to fend for themselves. Essentially, Pajondo double-crosses Montero and steals the gold for himself. Later, Montero catches up with Pajondo at the Rio Grande. Before the bandit can reveal the whereabouts of the loot to Montero, however, a Cavalry sergeant shoots Pajondo dead. Before he dies, Pajondo tells Montero about a medallion that serves as a clue about where he stashed the treasure. The irate Cavalry captain (Ivano Staccioli of "Commandos") imprisons Montero, but he cannot loosen the bandit's tongue even after he uses his whip on him. Infuriated by Montero's reticence, the captain threatens to have the Mexican shot if he doesn't talk. Meanwhile, the jailers let a priest speak to Montero, but he really isn't a priest. The six-gun toting Stranger (George Hilton of "The Ruthless Four") masquerades as a man of the cloth and rescues Montero from a firing squad. Unfortunately, before Montero is rescued, Clayton (Edd Byrnes of TV's "77 Sunset Strip") takes the medallion away from him and keeps it for himself. Clayton is the bank representative that was sent to safeguard the gold. He is horrified that the Captain wants to shoot Montero. Clayton's career at the bank hinges on his ability to recover the gold. The Stranger stages a fire at the fort to distract the firing squad and Montero takes the Captain as hostage and tries to escape, but the Stranger shoots him off the horse. Before the authorities can verify that Montero is dead, the Stranger claims the body for the handsome reward he will receive and he rides out with the Captain's gracious thanks. No sooner have they left the fort than Montero's men show up to rescue him from the Stranger. From this point on, the Stranger, Montero, and Clayton forge short-lived alliances among each other as they search for the gold. Castellari and scenarist Tito Carpi, who has penned a number of spaghetti westerns such as "A Few Dollars For Django" and another Castellari oater "Seven Winchesters for a Massacre," rely on clever humor and surprise reversals to keep the action fresh and fast-paced. One cool scene has Clayton seated at a table about to eat his meal when he hears some suspicious sounds from behind him. Clayton pours his drink on the table and sees the gunmen behind him with holstered six-guns.

"Any Gun Can Play" lives up to its title. In fact, many guns do play, and at least twenty or more corpses pile up before fade-out. This western isn't so much a parody as it is a knock-off of Sergio Leone's "The Good, the Bad, and the Ugly." Mind you, bad guys and good guys fall as frequently as ten-pins in a bowling alley, but their deaths aren't depicted in the brutal fashion of a Leone western. "Any Gun Can Play" doesn't take itself as seriously as the aforementioned Leone masterpiece. The three leads jockey back and forth for supremacy. Each has a piece of the puzzle that will lead them to the treasure, but they refuse to share their information until the shoot'em up finale. Lenser Giovanni Bergamini's colorful widescreen photography is spectacular, especially the opening shots of the train chuffing along railway tracks with distant mountain peaks rearing up dramatically in the background. Another great shot occurs when Montero tests the Stranger's imperturbable calm. This scene happens after the Stranger has rescued Montero and the Mexican's minions arrive to save their chieftain's bacon. Confiscating the Stranger's six-gun, Montero takes aim at the poncho-clad tough guy and empties the revolver, placing his well-aimed bullets harmlessly in and around the unflinching gunslinger. Bergamini, who photographed Castellari's World War II thriller "Inglorious Bastards," frames the scene with the Stranger in the background and his pistol in Montero's hand in the foreground for a pleasing, three-dimensional style shot. Meanwhile, Francesco De Masi's lively orchestral soundtrack is as memorable for its own idiosyncratic melodies as Ennio Morricone's soundtracks were for the Leone westerns. The opening song is reminiscent of a 1950's Hollywood western with its catchy lyrics and guitar riffs. Although it isn't a major spaghetti western, "Any Gun Can Play" is always entertaining nonsense with interesting plot twists and good performances, especially the indefatigable Gilbert Roland who was 62 years old at the time!
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positive