In other words,this film is a surreal ride.

The movie really just wants to entertain people.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

An old-fashioned movie made with new-fashioned finesse.

In Brazil has this kind misunderstood,the name of movie here is "the Big Night of Ringo" but the main actor William Berger must to be called Ringo instead Jack Balman specially because is a dubbed version,so it's so easy call him Ringo,anyway apart from little mistake and the unbelievable scene that Balman escape from the prison using a bed and trouser,what a bizarre scene!!!...The movie itself is quite likable for a spaghetti,the final is bit moralistic but works,the widescreen format was preserved and amazing restoration!! Resume: First watch: 2017 / How many: 1 / Source: DVD / Rating: 6

Expatriate American actor William Berger saddled up for the first of many Spaghetti westerns when he made writer & director Mario Maffei's oater "Ringo's Big Night," with genre stalwart Eduardo Fajardo cast as the villain. Interestingly enough, the protagonist that Berger portrays has a different name than the eponymous character. The reason perhaps is that the nickname 'Ringo' became a familiar name in European westerns, as popular as 'Trinity' and 'Django.' In this instance, the Berger anti-hero is neither related to Giuliano Gemma's two "Ringo" horse operas "A Pistol for Ringo" and "The Return of Ringo," helmed by Duccio Tessari, nor Mark Damon's gunslinger in "Ringo and His Golden Pistol." Indeed, Berger is cast as never-do-well gambler Jack Balman. Basically, this above-average sagebrusher concerns a gambler who is arrested and thrown in the hoosegow because the authorities suspect that he may have robbed a stagecoach and stolen $200-thousand in bank notes. Maffei staged the robbery with comic overtones. The villains force both driver and passengers to strip to their underwear to see if they are hiding the $200-thousand. Afterward, they check the boot, or trunk of the coach, and find a gentleman crammed up in it. Systemically, they strip him and rip off packets of bank notes. Anyway, while he had nothing to do with the hold-up, Balman winds up sharing a cell with another man (Walter Maestosi) and convinces him to help him escape from jail so he can find the missing money. The outlaw sharing his cell with him has one arm injured, but he helps Balman break out of jail by using his pants and the cell bed. Our hero hightails it to Tombstone where he tracks the money down to a corrupt lawman and Tombstone's mayor Joseph Finley (Eduardo Fajardo of "The Mercenary") who is a sneaky dastard himself. For example, Finley has rigged up a door in his house so that it has no knob on it. Instead, he has a revolver that he has placed in the hole so that the revolver looks like a door knob that has a handle. This neat trick doesn't fool our resourceful hero when he comes looking for the money. Predictably, Balman recovers the loot, sinks it into a glass jar under a water fall and rides back to town so he can get back into this jail bunk before he is discovered. This synopsis makes it look like a "Mission: Impossible" western. Maffei generates a modicum of suspense along the way as the villains blast it out with the sons of virtue and the bodies pile up. When he rides into town to question suspects, Federal Agent Norman Ford (Guido De Salvi of "Passport for a Corpse") finds several corpses lined up outside in the middle of the street. Balman has every intention of hoarding the money and riding off to Mexico, but the Federal authorities convince him to do otherwise. The gunfights and the fistfights are fast and furious. Those Spaghetti western sound effects—particularly the report of any firearm—are distinctive. For the record, one of the towns that the action takes place in is the same town that Sergio Leone used for his Clint Eastwood westerns. Some of the things that you don't see in the usual, run-of-the-mill western is our hero shooting it out with his enemies from the bucket of a water well. He reels himself up above the well and fires at the bad guys, and then he lowers himself. Lenser Giuliana Attenni of "Two Sons of Ringo" makes everything look rugged with his widescreen cinematography. "Ringo's Big Night" is worth watching at least once.

Normally I enjoy spaghetti westerns a lot, but this one was at times very tough to sit through, so I can only imagine what non-western fans would think of it. The movie does have a few good ideas that could have potentially paid off, but the execution is more often than not lacking. After the opening action sequence, you have to wait more than a half hour before the next real action sequence. The movie is extremely slow-moving and filled with too much talk to engage western fans. Even the music score, usually the highlight of a spaghetti western, is very lacklustre. Animal lovers might want to especially avoid this movie since there is some treatment of horses at one point that might anger them.Oh, and despite what the title says, there's no character in the movie by the name of "Ringo".

200,000 dollars are stolen in a stagecoach robbery, and soon two strangers are arrested: John and Jack. They are innocent (well, at least in this case) and because John has a broken arm, Jack decides to break out of jail alone, prove who the real bandits are, get hold of the money, kill the bad guys (whoever they may be) and return to John. Simple plan, difficult to carry out, though! In Tombstone, Jack cannot trust anybody, but he's got a few clever ideas to impress the enemies (he pretends he can shoot a hole through a coin, but exchanges the coin secretly because he actually missed) and doesn't hesitate even to tie the saloon girl (hot: Adriana Ambesi) to her bed for information. Yet he finds that the stagecoach robbers are well prepared to hide their true identities...This was the first Italian western for William Berger who was to continue in the genre for many films until the 1980s. The character he portrays, Jack aka Ringo, is a typical blond hero type at first glance; but if you take a closer look at Ringo's problems with the law, especially with sheriffs, that is foreshadowing the more twisted characters Berger was to play later, for example in 'Sabata'. Eduardo Fajardo ('Django') is a perfect villain as always; in one scene, he uses a pistol disguised as a door-handle, I haven't seen this anywhere else before. Carlo Rustichelli's music enhances the action, and director Maffei (who was usually working as an assistant or second unit director) shows the necessary craftsmanship to put this together. The result is not outstanding in any way, but a solid low budget western without major flaws.