Directed by:
Harald ReinlScreenplay:
Harald G. PeterssonCinematography:
Ernst W. KalinkeComposer:
Martin BöttcherCast:
Lex Barker, Pierre Brice, Mario Adorf, Marie Versini, Walter Barnes, Ralf Wolter, Milivoje Popovic-Mavid, Branko Špoljar, Niksa Stefanini, Dunja Rajter (more)Plots(1)
The first part of the "Winnetou"-Trilogy, produced with motives of the same called novel of Karl May: The construction of the Great Western Railroad, in the middle of the 19th century in the American West, creates heavy conflicts between settlers, the railway company and neighbouring Indian tribes. This is when criminal gang leader Santer (Mario Adorf) sets his eyes on a gold mine, which is located on holy Indian land. He then influences the construction supervisor, to change original planning and alter the railroad route straight through the Apache land. Old Shatterhand (Lex Barker), who works as a measurement technician for the Railroad society, discovers the evil plan and searches contact with the Indians, in order to unite against the gangsters. When Shatterhand helps Indian chief Winnetou (Pierre Brice) to escape from the hostile Kiowa Tribe's totem pole, he manages to convince him of his good intentions. United, they track Santer down, but the outlaw has always another joker up his sleeve. (official distributor synopsis)
(more)Reviews (6)
The well-known Czech traveler and cactus collector, Alberto Frič, once had a conversation with students from a primary school in Prague. While describing his experiences living among Native Americans, he received several questions from the audience that he did not understand and found absurd. He tried to correct the distorted ideas that the schoolchildren had about the life of Native American tribes, but he encountered a wall of contempt. He was exposed as a bold fraud because each of these children already had a clear idea about Native Americans from the novels of Karl May. Although May had never been to America, or the Balkans and Asia where he placed his adventure novels (actually, that's not entirely true; in his old age, as a result of criticism that he wrote everything without knowledge of reality and without sticking his nose out of Germany, he traveled to the places where his literary heroes had been), he managed to fulfill the imagination not only of the schoolchildren but also of what a romantic adventurer and entertaining story should be. It's not so much that May's stories have practically nothing to do with the reality of Native American communities and the Wild West, but rather that, from my present perspective, they are so naive that they even cross the boundaries of self-parody. I read Vinnetou's stories, as well as the book series "The Shadow of the Padishah," between the ages of nine and twelve, and by the age of thirteen, I found them somewhat amusing and moved on to other works. Vinnetou was simply part of a certain age group, although it is appropriate to speak in the past tense here as well because, for my children's generation, these heroes are "totally out." I am surprised, however, by the exceptionally high rating the film has earned, which is the result of an exceptionally strong dose of nostalgia in this case. This phenomenon is typical not only for the May novels of the 1960s. Adults simply remember how amazingly these stories influenced them in their childhood, although I strongly doubt that they would be willing to re-read the Vinnetou stories today. I remember how, at around fifteen years old, I watched The Yellow One and swore it would be the last time I watched May's films. From the Vinnetou series, only the musical motif, the beauty of the Croatian limestone mountains, and childhood memories remain. Overall impression: 40%.
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I simply cannot add the fifth star. And it is probably because I didn’t see the film for the first time as I child and neither did I stand in queues in the summer theater, unlike many older users here. In fact, I'll probably be one of the few who visited Plitvice lakes before seeing the first installment of Winnetou. But, as years go by, I’m getting a taste for it more and more and I have to say that I completely understand why Winnetou is such a legend for many.
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This is a classic that I just love. The way Winnetou and Old Shatterhand get together is just iconic and a beautiful example of true friendship. Plus, there's a lot of emotion in it, which as a little boy you really experience. True, not so much as an adult, but that's just because you know it so well. This is just a beautiful adventure classic.
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An unforgettable movie and for me, forever a cult film in the truest sense of the word. I can recite lines I learned at the age of six, and the older I get, the more the final battle at Nugget-tsilu grips me. Recently, I was pondering which movie I've seen the most, and in the end, after careful consideration, I had to admit that it wasn't actually The Fellowship of the Ring after all.
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Winnetou, Old Shatterhand, Sam Hawkens, Karel May... The heroes of my childhood. All the characters in the book had the faces of their film counterparts - at least in my head the "Winnetous" were able to beat even the excellent illustrations by Zdeněk Burian. Of course, from the point of view of a faultfinding analyst, it's a very naive and slightly artificial imitation of a western, but nostalgia is a powerful thing, and to this day I still can't praise this co-production gem enough. Compared to the book, it is a bit less lyrical, but it still captures its spirit and I will always be happy to return to it, even though I grew out of boy's moccasins a long time ago and my silver rifle (made of high-quality polystyrene) was carried away by ruthless time...
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