Guilio Petroni’s Death Rides a Horse marks Lee Van Cleef’s fifth outing as a beady-eyed gunslinger in a Spaghetti Western, a sub-genre of the outlaw-ridden world that would come to represent the sort of villainy inherent in such a gaze. While five isn’t a glaring amount of films to have under his holster, it’s a heavy number when taking into account the level of hollowness mixed with stern stoicism that accompanies each role. Black brimmed hat sitting low atop a dusty brow, its face carved with an expression of grim desire. It’s a look Cleef has owned, and rightfully so, engraining himself into a world made grand in scope by Italian maestro Sergio Leone. Though Leone is a director who creates worlds, life cast behind Cleef, who for better or worse, needs no set-piece to do the devils work. What separates Petroni’s Western from others aren’t the plumes of smoke that drift across the sand after a shootout, but the outlaws journey who carry a redemptive factor unseen in previous Westerns.