User Reviews

The movie deals with a sheriff (Franco Nero) who leaves his work in Texas and along with his younger brother (Albert Dell'Aqua) go to Mexico to revenge the death their father . Both of whom get in a little town where everybody is afraid of Cisco Delgado (Jose Suarez) who has become the local landowner . There , they take on the land baron and his henchmen (Livio Lorenzon, Jose Guardiola , Hugo Blanco) . They're only helped by an advocate at law (Luigi Pistilli) and some villagers.

It's a typical Spaghetti/Paella Western co-produced between Italy/Spain in which blends the common scenarios , as invincible and tough antiheroes , difficult and fast showdowns with numerous deceases , impulsive and quick zooms as well as musical score with Ennio Morricone influence . The picture has a certain remembrance to the ¨Trilogy of the dollars¨ and ¨Once upon a time in the West¨ by Sergio Leone regarding the avenging theme , there're even similar plots and twists . Besides , set decoration by Eduardo Torre Fuente and Carlo Simi , the same from both movies . It also bears remarkable resemblance to ¨Django¨ (Sergio Corbucci) referring to Franco Nero role in similar interpretation and clothes . The picture was shot in Abril and May of 1966 , in Almeria (Spain), location where during 1960-70 years were filmed hundreds of Spanish-Italian Westerns . Being a Spaghetti/Paella Western , there appears several usual secondaries of this peculiar sub-genre as Spanish actors : Hugo Blanco , Jose Guardiola , Elisa Montes a special intervention of José Suarez and Italians : Luigi Pistilli , Antonella Murgia , Gino Pernice , Ivan Scratuglia and Remo De Angelis .

Cinematography by Enzo Barboni or E. B. Clucher (author of ¨Trinity series¨ with Terence Hill and Bud Spencer) is well made . It contains an evocative and atmospheric score by Antón Garcia Abril . The motion picture titled ¨Texas, Addio¨, or ¨Goodbye Texas¨ , or ¨The vengeance of Django¨ was professionally directed by Ferdinando Baldi . Ferdinando was a craftsman who directed all kind genres but especially Western such as "Carambola's Philosophy: In the Right Pocket" , "Blindman" , ¨Il Pistolero dell'Ave Maria" or "Forgotten Pistolero" , ¨"Django Sees Red" , ¨Rita in the West¨ and , of course , ¨Adios Texas¨ at his best . The pic will appeal to Franco Nero fans and Spaghetti Western buffs . Rating : Nice and good . Well worth seeing .

Like almost every Western starring Franco Nero after Sergio Corbucci's 1966 masterpiece "Django", "Texas, Addio" was marketed as a Django-sequel in Germany and Austria. Although it has neither anything to do with Django, nor is it anywhere near "Django" in it's value as one of the genre's highlights, Texas Addio is still a good Spaghetti Western. Besides the great Franco Nero it features typical Spaghetti Western supporting actors like Luigi Pistilli, Livio Lorenzon and Gino Pernice. When It comes to Ferdinando Baldi's Westerns, however, I would personally recommend "Blindman" way over "Texas Addio".

Along with his younger brother Jim, Burt Sullivan, a former Sheriff in Texas, leaves to Mexico to search and capture his father's murderer, Cisco Delgado, and bring him to justice...alive. Cisco, however, has in the meantime become a powerful landowner and crime boss.

Franco Nero has once said that out of all the Westerns he played in, "Texas Addio" is the only one that could also be an American Western. This is kinda true, on the one hand, since Nero's character Burt Sullivan is not the typical anti-hero, but a man who is looking to bring his father's murderer to justice alive, rather than just taking revenge. On the other hand some characters, like the grouchy and cynical Alcalde Miguel, played by Livio Lorenzo, are very typical Spaghetti-characters. Franco Nero's performance is great as always, many of the supporting actors are very good too. All things considered, "Texas Addio" is a fairly good Spaghetti Western, not one of the genre's highlights, but definitely worth watching.

Before watching the movie, I watched the interview with Franco Nero that's on the disc. When he said that this western is "more like an American western" than any of his other movies I began to worry since I generally don't care for American westerns.

The opening theme song of the movie is decidedly Euro-western, so that gave me some hope. Then the story began. The beginning scenes of the movie when they are in Texas are kind of hokey and corny in an American western sort of way, so I started to doubt the worth of this movie again. Fortunately this part of the movie is very short. The Sullivan brothers head off to Mexico and that's where the story unfolds and quickly becomes one hundred percent spaghetti western.

The music score is very good, with lots of spaghetti style trumpets and guitar. The theme song becomes a haunting recurring melody.

Franco Nero gives another action packed performance in this movie. His character, Burt Sullivan, has an uncanny ability with a gun that's reminiscent of Django. Jose Suarez is excellent in the role of the slimy land baron who murdered Sullivan's father, and Jose Guardiola is great as his cultured crony McLeod.

Needless to say, this movie was much better than I expected after hearing Franco Nero's comments. This is definitely not an American western! If you like your spaghetti westerns packed with action and revenge Franco Nero style, do yourself a favor and check this one out.

While Texas, Addio may not be among the high water mark of European Western filmmaking, I find it baffling that one would completely dismiss a film because of the quality of its post-production dubbing in a language different from that of its country of origin. Filmmakers are rarely responsible for how their film is presented in foreign language markets, so to place the blame on Mr. Baldi and the producers for the relative poorness (which I must also disagree with--there have been much, much worse dubbing jobs) of the dub is the same sort of ill-informed ignorance that says that the Godzilla films produced by Toho Studios in Japan are "badly acted" because the American dubbing is sub-par.

Aside from the dubbing, there's really no other reason to state that the studio and/or producers were incapable of making a Western. While Texas, Addio may not on par with Red River or The Searchers, the film delivers what most Western audiences ask for--a solid hero, a hissable villain, a believable conflict, plenty of gunplay, and a scenic atmosphere (and again, I'm baffled by statements that label the Spanish location as unattractive or, at the very least, not reminiscent of the American West).

If you're interested in Italian Westerns, I urge you to see beyond the dubbing and invest the time in this film.

Burt Sullivan, a rugged Texas sheriff heads to Mexico along with his raw younger brother Jim to seek revenge, by arresting the man Cisco Delgado for murdering their father quite a few years ago. When they reach a small Mexican town, they learn that everyone fears Cisco, as he has power over the people and their laws. Even with those obstacles that get in his way of finding Cisco, Burt wants his man, but a family secret he learns from Cisco when they finally meet. Turns the much-wanted revenge, into something even personal.

The ever cool, hard-ass Franco Nero appears in this customary walk-in-the park spaghetti western. There's nothing really going for it to set apart form the norm, but due to Nero's charismatically gloomy presence, fluid pacing and Enzo Barboni's terrifically panoramic and professional looking photography of the desert terrain. These things go on to shape it into a solid, if unremarkable experience. The passé premise is a simple and unassuming one with a relaxed temperament, which is broken up by excitingly fast action, brutal stabs of violence and would go onto spring one random twist midway through. Plastering the firm script is plenty of snappy dialogues, but also lazy cracks can show up and stock characters are represented. Other than Nero, the only other performance to standout was José Suárez sophisticatedly sadistic part as Cisco. The plot actually allowed a bit of development and emotional play to the Cisco character. The rest of the noble cast were more than acceptable. Director Ferdinando Baldi squeezes in some stylish lashings and energetic verve, but rather then being truly dazzling in its context and visuals, it turns out to be proficiently competent and surefooted. Nothing pretentious marks its way in. Anton Garcia Abril's exuberant music score can be dynamic and tight, but feel symmetrically staged. Don Powell opening / closing emotional car wreck of a song can be quite risible. The English dubbing is not so great either, but there's not real damage by it. It's a polished and workmanlike production, but there's few major draw-cards.

"Texas, Adios" is middling work of the sub-genre, but for the fans it diverts and breezes by in no time.

This isn't a bad Italian western at all--though compared to the rest of the films in this genre, this one is even lighter in plot and mostly consists of a lot of shooting and killing. Now, it's reasonably well-done shooting and killing, but if you're looking for depth, this movie isn't for you.

Franco Nero plays a sheriff in a Texas town. After YEARS of waiting, he and his brother inexplicably decide NOW is the time to track down their father's killer in Mexico. However, when they arrive and even mention the guy's name, Delgado, folks get a bit ornery and the killing begins. In fact, once they are in Mexico, practically not a single minute goes by when someone isn't shot!! And, eventually, a dark secret is learned--but I'll leave that for you to discover. And, also to discover is the wonderfully bloody and bullet-riddled finale.

This film is pretty good but it all boils down to lots of death and not much more. Nero is handsome and very good in the lead but an otherwise ordinary sort of western.

The spaghetti western genre continued with Ferdinando Baldi's "Texas, addio" ("Goodbye, Texas" in English). Franco Nero - the original Django who had a bit part in Quentin Tarantino's movie as the man who knows that the D is silent - plays a sheriff going after the man who killed his father. This movie doesn't make any pretense about being a masterpiece. It's a typical spaghetti western with music that sounds like that of Ennio Morricone. And there's no shortage of fights to go around.

The movie got filmed near where "The Good, the Bad and the Ugly" got filmed at the same time, and so Franco Nero and Clint Eastwood occasionally took the time to socialize. Those guys are truly the icons of Euro-westerns. This looks as if it was a fun movie to film. I recommend it.

PS: Franco Nero was in a relationship with Vanessa Redgrave for many years. They had a son who directed her in an adaptation of Wallace Shawn's politically charged play "The Fever", co-starring Michael Moore and Angelina Jolie.

(aka: THE AVENGER)

Sheriff Burt Sullivan (Franco Nero) leaves his job temporarily to go down to Mexico with his kid brother Jim (Alberto Dell'Acqua) and hunt down Cisco Delgado, the man who killed their father. Only there's an added surprise complication since the Delgado is related to Sullivan in a way which I won't reveal.

I had no problem with the dubbing since it's no worse that what you find with many films in this genre, but there's some pretty sloppy editing here. For example, early in the movie Sullivan (Nero) is ambushed by a man with a rifle up in some rocks. He has a shootout with the man and eventually kills him, but he doesn't go over to investigate and find out who the man was or find some clues as to why he was after him. Instead he turns the other way and finds his brother Jim waiting down at the bottom of the hill, playing a banjo. Bizarre to say the least.

The opening title track sung by Don Powell isn't any great shakes, either. Some of the later music cues in the film sound like surf instrumentals with a slightly Spanish tinge to them. Like out of KILL BILL or something. They sound pretty cool in light of the dreary opening track.

I must say that I did like the Almeria locations that vary between desert and rocky high ground as well as beautiful canyons and a river that could pass for the Rio Grande, but that's not enough to take it over the edge, imo.

The beautiful widescreen anamorphic Anchor Bay DVD comes with a 10 minute featurette where Franco Nero discusses the making of the film and how he used stuntmen in the fight scenes to make it look more believable, and he's right. Some of the fist fights do look good.

As it is, it doesn't hold a candle to DJANGO or Nero's previous western before this, TEMPO DE MASSACRO (MASSACRE TIME) which is one of my favorites. I wish Anchor Bay would release that one since it not only stars Franco Nero, but was directed by master horror director, Lucio Fulci.

In the meantime, I consider Texas, ADDIO below average.

4 out of 10

-

The film has a good story, good actors and good picture, so why is it so underated? Much better than many films made during the sixties. Besides the great Franco Nero it features typical Spaghetti Western supporting actors like Luigi Pistilli, Livio Lorenzon and Gino Pernice.

Sheriff Burt Sullivan and his younger brother Jim want to take revenge for their murdered father and say "Good bye, Texas!" to head for Cisco Delgado, the hiss-and-hate bad guy, who resides in Mexico. Unlike in many other Spaghetti Westerns the hero is never really slick and instead decides for an against-all-odds approach. The darkness of other serious spaghetti westerns is missing.

The sung score is memorable, the cinematography of Enzo Barboni is mediocre, Franco Nero is good as usual while the other actors do their job with little ambition. Overall this Western has average quality.

5 / 10.

Ferdinando Baldi is one of those Italian directors who had the magical ability to make great films such as this one.

Franco Nero, one of the best Italian actors ever reaches once more the highest peak in performance in this great Italy/Spanish co-production.

If you don´t like this film, you probably won´t like none of the 500 westerns filmed in Europe, and that means this is not your genre, so then forget all about it and watch stuff like "Star trek" or "2001", you´ll probably find it more exciting.

Action, action & more action is what you´ll get from this excellent spaghetti-western.

(10 out 10)

This is okay but starring Franco Nero and released the same year as Django, one might have expected a little more. Directed by Ferdinand Baldi who dabbled in various genres over the years, made Blindman (1971)one of my faves starring Ringo Starr and ten years later the crazy 3D Comin' at Ya! which I remember. with some affection, watching at the BFI Southbank many years ago. Texas, Adios was 'released in some countries as a sequel to Django' and this says it all really and maybe it should have been just that but there is no mention of the main man here. I enjoyed the sweeping vistas, dusty deserts and deserted villages of Almeria but efforts to make this convincingly look like an American western seem, ironically, to go against the grain. Whilst the spaghetti western is an Italian version of the US films, it is that European perspective that usually gives the films such a different feel.

These days you forget what a name Nero was in the Sixties and Seventies. In 1966, the former army grunt turned physical actor starred in three westerns within six months - Django, Massacre Time and Texas Adios - before heading to Hollywood for a supporting role in Camelot, and then international stardom. It was as Django, however, that turned him into a major star in Europe; Nero as the steel-eyed Angel of Death dragging a coffin behind him personified the fashionable neo-nihilism of the Italian western and made him as iconic as the Kings of the Squint, Clint Eastwood and Lee Van Cleef.

Texas Adios, released in 1966, was a much more deliberately American western. Franco Nero is a clear-cut moral figure as Burt Sullivan, sheriff in a Texas town who takes his younger womanizing brother Jim across the border to find their father's killer, the mysterious "Delgado". It's Adios Texas and Hola Mexico, but the country they find is more hostile than Burt imagined. It's a lawless landscape where no-one can be trusted, controlled by morally bankrupt power brokers and would-be revolutionaries, and Delgado turns out to be the most powerful land baron in Mexico who likes to play with his captives before executing them. What begins as a simple quest for revenge becomes much more ambiguous as the plot unfolds and family secrets are revealed.

Like all great Italian westerns, Texas Adios is beautifully shot by Enzo Barboni, who as "EB Clutcher" would later create his own sub-genre of Trinity movies with Terence Hill and Bud Spencer. And, despite its allusions to the classic models of Gary Cooper and Jimmy Stewart, it's a spaghetti western at heart, and its heart is cold and cruel. "Are you tired of living (pronounced 'leeeeving')?" asks Delgado's greasy right hand man, and the answer seems to be a resounding yes: sympathetic characters are disposed of with little fanfare, and Nero's idealistic younger brother Jim played by Alberto Dell'Acqua is taught that becoming a man means becoming immune to killing.

Me, I'm already numb to the wholesale slaughter, and you will be too, as we ride the blood-soaked plains in Texas Adios.

For starters, this is one of those films where it's pretty bad in the beginning , but then eventually redeems itself, arising back to average or even above. The film is saved by it's good action, splendid soundtrack, and impressive cinematography, while everything else is average. I would recommend this film if love Franco Nero, Spaghetti Westerns, or you just want to have fun. So yeah, this is decent film which means I give this film a 7/10, have cool time! Other than that, I'm Austin A. Rodgers, and you have a good life.

The first and, presumably, best of director Baldi's six Spaghetti Westerns (I'd watched his last – BLINDMAN [1971] co-starring Ringo Starr[!] – as part of the Italian B-movie retrospective during the 2004 Venice Film Festival) finds genre icon Franco Nero in good stoic form as a man out to avenge his father's death (incidentally, it was the star's own first genre outing…to be followed that same year by two even better efforts in Sergio Corbucci's star-making DJANGO and Lucio Fulci's MASSACRE TIME).

Against his better judgement, he's accompanied on the peril-fraught odyssey (which takes him from Texas to Mexico) by his younger sibling – played by Alberto Dell'Acqua (using the hilarious pseudonym Cole Kitosch!). However, this turns out to have a strong bearing on the plot – despite typical scenes in which the inexperienced and impulsive kid has to be rescued within an inch of his life by big brother – since the man they're after results in being Kitosch's real father (having raped Nero's mother immediately after bumping off her outlaw hubby, an event seen in a rather limp flashback). In the meantime, the villain has been lording it over a poor Mexican province (as much at ease casually picking off rebelling peones with his prize pistol as when playing the pipe organ in his living-room!) – aided by uncouth and alcoholic Alcalde Livio Lorenzon (even if it's later established that the latter's more human, and bitter, than he lets on).

With this in mind, the script demonstrates atypical care towards characterization – in fact, another figure who's given his due is that of the lawyer played by Luigi Pistilli (a versatile "Euro-Cult" stalwart) who secretly hopes to organize an uprising against the tyrant, and constantly pleads with Nero to join their ranks. By the way, one further twist on the Spaghetti Western scenario is that, at one point, it's the villainous hordes who are ambushed by the good guys! The action throughout, then, is pretty good (including some quite vigorous fistfights) – starting off with the credit sequence involving a lengthy shoot-out, eventually stopped by cool sheriff Nero, between a bounty hunter and his quarry; the latter is accompanied by the evocative and melancholy theme tune (the work of Spanish composer Anton Abril), which can be heard several times during the course of the film without overstaying its welcome.

For the record, I'd first gotten hold of this one in Italian – which is always the preferred language for me with this type of film – but it kept skipping over a good part of that opening confrontation due to some glitch (the same fate, albeit to an ever greater extent, had actually befallen another Spaghetti Western with Nero that I acquired in the past but subsequently couldn't watch as a result i.e. Luigi Bazzoni's MAN, PRIDE AND VENGEANCE [1968]); in the case of Texas, ADIOS I had to make do with the next best thing – an English-dubbed edition (even if Nero himself, who usually re-records his own dialogue parts on the English soundtracks of his films, is dubbed, too). At the end of the day, this is a minor genre offering but a reasonably effective and enjoyable one nevertheless.

This film begins with an outlaw being chased by a "bounty hunter" (played by Mario Novelli) into the small town of White Rock, Texas. However, after a great deal of effort to finally subdue the outlaw, the bounty hunter is subsequently forced to turn him over to the town sheriff, "Burt Sullivan" (Franco Nero) who announces that he intends to claim the bounty for his own. Needless to say, this infuriates the bounty hunter who then sets up an ambush just outside of town with the intention of killing him as soon as he rides by. Unfortunately for him, this turns out to be a fatal mistake as the sheriff is a much better gunman. It's then that Burt discovers that his younger brother "Jim Sullivan" (Alberto Dell'Acqua) has not only witnessed the whole thing but intends to ride with him to Mexico to bring back a man named "Cisco Delgado" (Jose Suarez) who killed their father several years earlier. What neither of them realize, however, is that Cisco is no ordinary outlaw and that he has his own personal army to protect him. Now, rather than reveal any more, I will just say that this turned out to be an okay Spaghetti western which definitely had its fair share of action and bloodshed. Even so, it deviates in one particular aspect from most other Spaghetti westerns in that the main character is not so much interested in money--or even revenge for that matter--but rather in seeking justice upon the man who murdered his father. One other note worth mentioning is that, despite the fact that the film stars Franco Nero, it has no connection to the Django films also made during this time. Be that as it may, while I certainly don't consider this to be a great western by any means, I suppose it was sufficient for the time spent and I have rated it accordingly. Average.

Lawman Franco Nero and his younger brother say adiós to Texas and travel south of the border to seek justice for their long murdered father. Soon they discover that the killer is now a wealthy and oppressive landowner with some secrets to tell regarding the two brothers.

Not as flamboyant as other Italian westerns, this is more like an American western in it's straight forwardness, though with a few European quirks and a bit more excessive violence.

Still, it's colorful and entertaining with good location photography and an excellent musical score. Franco Nero's always good.

Speaking of Nero, any western film with him in the lead invites unfair comparisons to Django. This is no exception.

What can you say about a film where the unbelievably poor dubbing was added almost thirty years after filming ? John Wayne, this is not ! Clearly produced by a studio not ordinarily used to the genre (or have the Spaniards been watching this for years rather than subtitle a real Western ?) Could probably have been better with American actors as the dubbed voices did not correlate with the facial expressions of the actors and emotion was often lacking in speech in this movie. Other than reservations with the acting and voice-overs, I found the plot to be rather drawn out, and the lack of scenery made me wonder if they could only afford one set which was re-painted for the other scenes. Might have been better if it was made in America, but probably more of a special interest movie to be viewed in the original language by people who perhaps have different tastes from the mainstream Western Genre

im glad i just saw the movie for the first time. why? i didnt have to be so damned concerned about the "poor dubbing" some are whining about. the dvd comes with the italian track!! anyway, i never have complained about a films poor dubbing job. im much more into any film to sometimes notice. i may giggle a little....but its not that distracting. i also get a kick out of how many people cant handle "keoma" because of the music. whatever. i thought it kinda fit...so im weird. TEXAS ADDIO is a great story with solid action again featuring the italian gun-slingin master, franco nero. i really enjoy that guy and im looking forward to him with the dvd release of "django". i have over 1000 dvds in my collection but my euro-western section is only 21 titles long with more on the way. "texas.." is most welcome in my collection and worth repeated veiwings. many j. wayne films sit close to the sketti titles but they have nothing to do with each other except for that they are all great westerns. also close by is "dead man" with j. depp....a great film but comparing and sizing up actors and titles is a waste of time for me. also see "the great silence" and "bullet for the general" if you have not checked them out yet. youll find nice dvds of each on shelves now.

While not on the level of any of Leone's work, or most of Corbucci's, this is still very good. Nero is, well Nero. The rest of the cast is decent enough. Many say it feels more like an American western but I don't see that at all. Recommended for fans of eurowesterns.

Quite pleasantly surprised by the quality of this movie. Sure, it's not perfectly made, the dubbing leaves much to be desired, as with most spag westerns that I've seen so far, but the cinematography is good - at least it goes to show the Spaniards are indeed capable of selecting appropriate locations to do their films, the fact that it's about two white gringos who travel to Mexico where most of the story occurs makes it more interesting. Franco Nero plays Burt Sullivan, a tough tin-star lawman with the reputation of being a quick draw on the pistol and capturing bad guys like rabbits. Weary of the adulation heaped on him, he leaves Texas on a personal quest to find and bring back to justice the man who murdered his father when he was a little boy. Accompaying him is his wet-behind-the-ears brother Jim, who has an eye for the ladies and draws banjo strings better than a gun, but whom Burt loves and protects nevertheless. They cross the Rio Grande to Mexico, asking for information about the man they seek. Turns out that he's the wealthiest and most feared despot for miles around. The revelation of a long-kept family secret complicates Burt's mission to capture the man. There's lots of action chili-peppered throughout the movie, the usual gunplay and brawls in the bar, and some torture scenes best left to the imagination. All in all quite watchable with a glass of Coke and nachos on the side.