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Kill Them All and Come Back Alone (Ammazzali tutti e torna solo)

Movie · 1968 · 9 people

Enzo G. Castellari directed this 1968 spaghetti western, made by Italian and Spanish producers together; its original title is Ammazzali tutti e torna solo, and Spain saw it as Mátalos y vuelve. Kill Them All and Come Back Alone is regarded as one of the most action-heavy films the genre produced. No woman appears anywhere in the film. It is regarded as a spiritual successor to Vado... l'ammazzo e torno, another heist-themed western Castellari made the year before with writer Tito Carpi.

The story unfolds during the American Civil War. The boss of a gang of robbers (Chuck Connors) is hired by a Confederate captain, Clyde MacKay (Frank Wolff), to steal gold kept in a Union fort. The captain's hidden plan is to wipe out every man in the gang once the job is finished, so that nobody has to be paid a share of the loot. The cast also features Franco Citti, Leo Anchóriz, Giovanni Cianfriglia and Alberto Dell'Acqua.

Castellari wrote the script with Tito Carpi and Francesco Scardamaglia, Francesco De Masi composed the score, and Fida Cinematografica produced. The film runs roughly 96 to 100 minutes, and it opened in Spain in an 89-minute cut. Its first German-language release came on 27 February 1970.

DirectorEnzo G. Castellari
Production companyFida Cinematografica

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Cast

Only cast members with a profile on this site are listed.

Alberto Dell'Acqua Alberto Dell'Acqua Actor · born 1938 Giovanni Cianfriglia Giovanni Cianfriglia Actor · died at 89 Chuck Connors Frank Wolff Franco Citti John Bartha Antonio Molino Rojo Leo Anchóriz Sergio Citti

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Through different eyes

Action & Thriller Fan Puts pace, tension and set pieces first; little patience for slow drama.

Here the story is an excuse; the real business is action. A plan to steal gold from a fort, the threat of betrayal hanging over the gang and men who are always on edge keep the pace from ever dropping. It is not for nothing that it counts among the genre's most action-packed entries. The question of who will sell out whom keeps the tension alive, too. If you want a western and a heist film in one package, this one gets straight to the point.

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

In what is seen as the spiritual successor to his own heist western, Castellari leans the narrative almost entirely on action, and the characters pay the price. The gang members remain functions rather than people, with hardly any room left for their inner lives. The betrayal motif is one of the genre's most familiar cards, and the film is content to play it efficiently rather than rethink it. So the structure suits viewers who want rhythm more than surprise. In my view its value lies not among the weightier, more layered spaghetti westerns but in how well it works as a lesson in the genre's raw energy and action editing.

History & Society Lens Asks about the period, the social background and what the work reflects.

The American Civil War is present here as scenery, not as a historical question. A Confederate captain who plans from the outset to sacrifice the very men he hired, all for the gold, reflects a view that puts self-interest ahead of the war's ideals; that cynicism, often associated with Italian westerns of the period, can be read as an answer to heroic war stories. It is also striking that not a single woman appears: this world is built only on men, guns and money. Anyone expecting historical depth about the war itself may be disappointed, but those looking for an allegory about who profits from war will find something to think about.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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