Tex – Blood Navajo | Review


Published on Oct 22, 2019


When Gianluigi Bonelli published the Blood Navajo, was the 1961. At the time it was still not broke Watergate, and the complete rehabilitation film of american indians was far from determined. But, as a good avant-garde, Bonelli, predating the times, and created a history masterful that it was the combination of these two themes: the abuses against the indians, and the strength of the print.

Tex is a character narratively very strong because it is able to wander in his stories between multiple themes, and situations. The context western does not limit the breadth of his stories, on the contrary, the landscapes of the Border give an extra charm to the adventures of the Eagle of the Night.

Sergio Bonelli Editore has decided, therefore, to propose an edition of the prestigious volume, a very important and significant. One of the most current among those written by Gianluigi Bonelli, and still rather fresh, both at the level of content, and smoothness.

The character at the center of the Blood Navajo is the journalist Martin Floyd, who during a journey by train sees the two men, Barlow and Hope, to shoot to kill a group of indians. From here, you will unleash a bloody guerrilla war on the part of the Navajos, who called the army, creating a situation of political instability and tension is very high.

In all this, Tex will work as a mediator between the two fronts, supporting clearly the cause of the indian.

So as we said in the opening, the Blood of the Navajo is one of those stories that testify to the great narrative skills of Gianluigi Bonelli, and the freshness of the writing of a writer capable of, at the end of the Forties, to create a character far ahead of his time.

The magical duo formed by Bonelli and Galeppini solidifies to a narrative cycle of remarkable, and which marked a turning point in the evolution of the Eagle of the Night.

If you need to evaluate the literary quality of Tex, a story like the Blood Navajo is able to demonstrate the extent of the value of the narrative of the Eagle of the Night was high already in the early Sixties.

Gianluigi Bonelli adored the films of John Ford, but, to a certain extent, on the conceptual level there was even more ahead compared to the american director. Only in the Eighties it came to pass in the full redevelopment of the Indians within the american cinema, which in the golden age of cinema western u.s. were confined to the bad guys, enemies of the whites (even in masterpieces like the searchers).

So a story like Blood Navajo is pure avant-garde, and also anticipates the spaghetti westerns of Sergio Leone, who would be born shortly afterwards, and in which the difference between good and bad would have been much more subtle, not to say non-existent.

In the Blood of the Navajo indians to act with violence, but to avenge an injustice suffered by some of their companions. And then, the introduction of the topic of the power of print can read ahead of the Story, seen that, ten years later, the actions of the president of the United States Richard Nixon, and the intuition of two journalists of the Washington Post, revealed a national scandal that led to his resignation.

In a prophetic way, even in the Blood Navajo will be the Washington Post to start a fuss, and the journalist Martin Floyd will be central as much as the characters in action.

In short, the Blood of the Navajo is one of those stories of Tex is essential. To discover, or rediscover.

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