A related Corbucci discussion at European Film Review's forums may be of interest
Johnny Oro, Hellbenders, Man Who Laughs, Corbucci Chronology(Note that the thread is from the "What I Watched this Week" section, and that the Corbucci talk doesn't get started till about seven entries in, and then extends to a second page)
Only one of us had seen the AB presentation, and she isn't all that impressed, disappointed as much by the scarcity of extras as by a purportedly blah transfer. What's really striking is the unanimity of high regard for the film itself, a major shift in opinion-consensus from a decade ago, when it was thought an oddity at best by most 'in the know', though it already had a major partisan in Spaghetti Western chronicler Lawrence Staig (the film highlit in the early study of the genre he cowrote).
HELLBENDERS has long been a special fave of mine, and I'm really excited by the positive response lately. I won't bore you with my full length sermon in a drawer on the subject (delivered many, many times before). I'll only call attention to the excellent troupe of actor-characters (and character-actors like Sambrell, and Mulock in definitive parts; note too that Norma Bengell's presence adds up to the largest cast of names that are never spelled the same in any two filmographies, Sanbrell, Moloch, Bengall!) and how Corbucci deploys them near flawlessly. It's been said that this film and mad-bad brother Gino Pernice in particular had a major impact on Tarantino, reflected in the staging of RESERVOIR DOGS' loony interactions, and Quentin's DUSK TO DAWN characterization which is certainly purest Pernice: psychopath goofball younger brother who keeps making sheepish, outlandish excuses for his impulsive acts of murder, rape, random mayhem which edge the road trip closer and closer to the very gates of hell!
The dark, dark, relentless gallows humor shouldn't eclipse appreciation of the other greatest strength: the incredible pathos and hopelessness that the insertion of Norma B.'s female character (almost unique as a fully fledged Spaghetti Heroine, and the very greatest of her kind) brings into play, and Corbucci's canny use of her as dramatic chorus and camera's eye p.o.v. She's strong enough as a proto-TEXAS CHAINSAW MASSACRE Alice in Blunderland just trying to get out alive from the American Gothic freak show that's allowed to pass through all border checks, draped as it is in the American Flag, and finest national and familial sentiments (nightmarish satire-suspense and quite brilliant in itself). The real trick is what evolves after she survives long enough to gain some leverage in her alliance with good brother Julián Mateos (usually a lightweight disposable juvenile star, here transformed by Corbucci into one of his portraits in doomed heroism, utterly compelling) as lover (while also seducing pop Joseph Cotten in the manner of an old testament heroine). By the end, Norma and Julian resemble our first parents beyond the gates of Eden, but also any kid 'today' (ca.1967-1968) who can't believe what the male chauvinist American war machine is up to, can only protest impotently, and watch with horror and despair, conjugal love and a shared worldview their only solace whatsoever.
Corbucci's smart use throughout of slow dissolves upon anguished Norma and or Julian closeups in response to ever more insane turns of event is very, very effective in this regard.
Big lingering question. Who exactly was Louis Garfinkle, and how did such a shadowy figure make such an impact on certain key movies over several decades, and just what did he provide here? An Albert Band (producer cowriter of HELLBENDERS) associate, he produced and scripted I BURY THE LIVING as well as coming up with the story of DEER HUNTER. HELLBENDERS certainly has many things in common with these, cemetary ghoulishness, and post war zombies running amok among them. Could someone please explain what genius-dust he sprinkled on this film? His co-writing credit here is certainly significant.