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a vast, empty expanse in the West. The shot pans over it. Then the image shifts to a desperation-scarred visage. The long view has changed into a closeup without a cut, showing that there was actually someone living in the desert not far from where we were.
Sergio Leone set a rule in these opening frames that he adheres to throughout “The Good, the Bad, and the Ugly.” According to the rule, the frame’s sides set a restriction on how far you can see. Leone is free to surprise us with entrances that cannot be explained by the actual geography of his shots at crucial points in the movie because the characters cannot see what the camera cannot see.
For instance, there is a time when men are unaware of a sizable Union Army base until they accidentally walk into it. A man appears out of nowhere in a cemetery at a time when he ought to have been obvious for a mile. And how males can be seen walking down a street in broad daylight without being shot, perhaps because no one is in the same frame as them.
Leone doesn’t give a damn about being realistic or believable and bases his excellent movie on the shit of Western movie clichés, using style to turn trash into art. Audiences understood they enjoyed the film when it was released in America in late 1967, not long after its predecessors “A Fistful of Dollars” (1964) and “For a Few Dollars More” (1965), but did they understand why?
I watched it from the front row of the Oriental Theatre’s balcony, where the enormous broad screen was perfect for Leone’s operatic compositions. I gave a strong response, but I hadn’t been a movie reviewer for long, and I wasn’t always wise enough to value instinct over caution. Looking up my previous review, I discover that I awarded a four-star film only three stars, possibly because it was a “spaghetti Western” and therefore not art.
But art it is, summoned out of the imagination of Leone and painted on the wide screen so vividly that we forget what marginal productions these films were–that Clint Eastwood was a Hollywood reject, that budgetary restraints ($200,000 for “Fistful”) caused gaping continuity errors, that there wasn’t a lot of dialogue because it was easier to shoot silent and fill the soundtrack with music and effects. There was even a feeble effort to make the movies appear more American; according to critic Glenn Erickson, Leone was given the name “Bob Robertson” in the early prints of “Fistful,” and composer Ennio Morricone was given the name “Dan Savio” despite the fact that his lonesome, melancholy scores are inseparable from the movies. Even Clint Eastwood’s infamous Man With No Name character was created by publicists; he was referred to as Joe in the first film, Manco in the second, and Blondie in the third.
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The spaghetti trilogy, particularly the masterpiece “The Good, the Bad, and the Ugly,” has a subtly foreign flavor that might imply a different world than traditional Westerns. We get locals who must have been recruited close to the Spanish locations instead of bland Hollywood extras from central casting—men who appear to have been exposed to the elements for a long time. Think of the legless beggar screaming, “Hand me down a whiskey!” as he pushes himself into a bar with his arms.
Although John Ford filmed some of his best Westerns in Monument Valley, where his characters lived, there is something fresh and peculiar about Leone’s foreboding Spanish landscapes. These landscapes have never been seen before. Nobody has ever seen John Wayne here. In Leone’s tales, everything is larger-than-life, more stark, cruel, and dramatic than in real life.
Leone uses pictures rather than words to convey the tale. Look closely at the artistic picture in the cemetery. Three men have gathered in hopes of finding the rumored gold wealth buried in one of the graves. The performers are Lee Van Cleef (the Bad), Eli Wallach (the Good), and Clint Eastwood (the Good). (the Ugly). Each guy is aiming a gun at the other. All of them will shoot and perish if one does. Unless the other two opt to shoot the third man first, stopping him from shooting either of them. But which second and third?
Leone draws this scenario out beyond all reason, starting in long shot and working in to closeups of firearms, faces, eyes, and lots of sweat and flies. He appears to be putting himself to the test to see how long he can keep the audience guessing. Or is there really any tension here? It might be nothing more than a stylistic exercise, a directorial trick meant to draw attention to themselves. You can appreciate Leone’s technique if you enjoy how boldly he dabbles in parody. This is a commemoration of audacious actions rather than a narrative.
Il Buono Il Brutto Il Cattivo Quiz
When he started working with Leone, Eastwood was 34 and already had absolute power. The fact that he arrived from television, that he starred in “Rawhide,” and that at the time it was believed that moviegoers wouldn’t pay to see an actor they could watch for free are all frequently brought up. Eastwood broke that curse, but no other performer or director could have done it. He claims that he accepted the roles with Leone because Hollywood would not hire him and he wanted to produce movies.
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Yes, but Eastwood himself would go on to become a significant director, and even then he must have recognized in Leone a guy with passion rather than just another seller of Italian sword-and-sandal epics. Together, Leone and Eastwood transformed The Man With No Name into a character who never had to introduce himself and whose boots, fingers, and eyes were considered significant enough to fill the entire screen. This character was larger than a television star as well as a movie star.
I wonder if Clint Eastwood’s character speaks ten times as much as Tuco, played by Eli Wallach. Tuco never stops talking, and The Man With No Name never does. This is one of Wallach’s most creative performances because he avoids the possibility that his character will come off as ridiculous and instead creates a desperate, terrified presence. We detect Tuco’s strategy, not his personality, when he acts like a clown. A seasoned performer with Method training, Wallach took this lowly part seriously and created something evocative from it.
As Angel Eyes, Lee Van Cleef was a New Jersey native who had appeared in 53 movies and countless TV programs, many of which were Westerns. (his first movie credit was “High Noon,” where he played a member of the gang). He has the narrowest eyes in a movie with a lot of narrow eyes, and they sparkle with insane fixation.
The location of the Civil War gold fortune is revealed to the three guys, who are all after it. (one knows the cemetery but not the grave, the other knows the name on the tombstone but not the cemetery). They are aware that they will survive until the burial is discovered, at which point they will probably all attempt to murder one another.
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That is not enough plot for a movie that spans 180 minutes in its most recent restored version, but Leone has plenty of other ideas. There is the initial gunfight, which features unrelated people. In the con game, Wallach portrays a wanted man who Eastwood turns in for the reward before waiting until the man is about to be hanged and using a precise shot to cut the rope. After Eastwood abandons Wallach in the desert and Wallach does the same to Eastwood, there is a magnificent desert passage where the sun burns down like it is in a scene from “Greed.” There is the eerie runaway wagon, which is stuffed with men who are deceased or dying.
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Aldo Giuffre gives a moving performance as a captain in the Union Army who explains his alcoholism simply: The commander who has the most alcohol to get his troops drunk before battle is the one who wins. This ambitious Civil War sequence is almost like a film within a film. “Can you help me live a little longer?” was his last request. I anticipate good tidings.
Sergio Leone (1929-1989) was a director with unrestricted vision and ambition who virtually created the spaghetti Western as well as himself. Leone promoted his own career by pretending to be the assistant director on Robert Aldrich’s Italian production of “Sodom and Gomorrah” (1962), even though he was fired after just a day, according to Erickson, whose helpful essay on the trilogy is available at www.DVDtalk.com. Leone produced a lost Roman Empire epic in 1961, and then his “A Fistful of Dollars” was so closely modeled after Akira Kurosawa’s samurai movie “Yojimbo,” that Gus Van Sant’s shot-for-shot remake of “Psycho” in 1998 may not have been the first time the method was used.
In addition to “Once Upon a Time in America” and “Once Upon a Time in the West” (1968), Leone also produced two other films that are universally regarded as classics. (1984). Hollywood had grown wary of pictures with lengthy running times by the end of his career, so it criminally cut “America” from 227 minutes to a sometimes-incomprehensible 139. The original version of “The Good, the Bad, and the Ugly” was trimmed by nineteen minutes. However, all of his films are accessible on DVD in their original uncut form, making it increasingly obvious just how talented he was.
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