They Call Me Trinity (1970) is Enzo Barboni’s Profoundly Lazy Spaghetti Western

Enzo Barboni’s easy-going spaghetti western, They Call Me Trinity, is a character-focused story, with a buddy cop element and a happy-go-lucky main character in Trinity (Terence Hill). His laziness is profound and the fact that he sleeps across the desert and wakes up in random towns, ready to throw down with whomever, makes him an all-time lead within the genre.

The film as a whole is completely aimless, with the story meandering through barely relevant beats and eventually ending up at the end of Trinity’s arc. Thankfully, the Franco Micalizzi main theme and score save the dullness and add flavor to Trinity. It’s truly a phenomenal score and one of the main reasons to seek it out thr film. Other than that, Terence Hill is so goofy and so much fun that he deserves your attention, Bud Spencer as the grumbling criminal/town sheriff Bambino and brother of Trinity plays nicely off Trinity, and of course, Farley Granger of all people playing the heavy Maj. Harriman.

It’s two wandering criminals defending a separate group of cattle farming Mormons against greedy rustlers. Using religion as a story beat, the script slightly dips into pacifism and hilariously touches on Mormons’ polygamy that conveniently allows Trinity to get two women instead of one.

One of those films that’s easy to sit through and mindlessly enjoy. It plays off genre tropes well and uses unorthodox characters for the comedy bits. It’s well done in some sequences and awful in others but overall a fine genre film.

Musings of the watch:

– Trinity’s introduction on the back of the horse in blazing sun and with the laid back main theme was the perfect opener 

– Trinity is a prototypical spaghetti western archetype: fastest gun in the west, nonchalant, tattered, torn, bruised and disgustingly dirty 

– The introduction of Trinity’s brother, the “fake sherif” another classic spaghetti western trope

– The antagonist are weak in the film – the major is barely noticeable when he’s supposed to be driving the tension

– The music is wonderful. I love the whistling in the main theme.

– Cinematography is a little stagnant, always going for medium close-ups with a lens that has a full depth of focus. It’s a little repetitive visually

– The wardrobe choices from the two brothers (especially Trinity) to the major and the two men the major hired to kill the sheriff – all distinct to the character and do all the necessary heavy lifting in terms of character development 

– The clean cut, amish version of Trinity is no bueno 

– “I’m going to get married – to Sarah or Jessica. I haven’t decided yet.” The question that crossed every hot blooded male when the two women were first introduced lol

– They’re mormons, not the Amish lol

– The scene at the crick – Where Sarah and Judith proclaim that they can be WIVES, plural, because Mormonism allows for polagamy. One of my favorite story beats of all-time. The scene in the water (the crick) is too good, heavenly. 

– The scene where the brothers are teaching the mormons to fight by beating them senseless is hilarious 

– The good guys plan is to appeal to the bad guys sense of morals AND IT WORKS (lol, I love this film)

– When the Mormon leader reads off “there’s a time to fight and a time to win. There’s time to fight!” out of scripture, which leads to a brutal war without guns between the two parties is an excellent moment 

– The plot ending with the rustling of the majors horses is a full-circle narrative arc

– “Hey Major, Nebraska’s thataway” 

– Trinity is a strange character: He’s moralistic and idealistic – he listens to his conscious, which is a rare trait in a lead out of a western

– I prefer the hard boiled spaghetti westerns but this one has its charm too. It boils down to preference, but I do love the two main characters: Trinity and Bambino’s dynamic. Bambino is that hard boiled lead but Trinity takes the spotlight 

– Trinity’s journey ends and he immediately gets back on his horse cart en route to California 


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