Directed by:
Sergio LeoneCinematography:
Tonino Delli ColliComposer:
Ennio MorriconeCast:
Clint Eastwood, Eli Wallach, Lee Van Cleef, Aldo Giuffrè, Luigi Pistilli, Rada Rassimov, Enzo Petito, Claudio Scarchilli, John Bartha, Livio Lorenzon (more)VOD (3)
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Clint Eastwood returns as the "Man With No Name," this time teaming with two gunslingers (Eli Wallach and Lee Van Cleef) to pursue a cache of $200,000 and letting no one, not even warring factions in a civil war, stand in their way. (official distributor synopsis)
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Reviews (13)
An absolute pinnacle of filmmaking. And probably one of the works that had the biggest influence on me early on in my film development. I remember back then being hypnotized by the overlong images, the minimalist dialogue, the stylistic mannerisms on the small TV at my parents' cottage. I for the most part didn't know much about what any scene was about until now, and it didn't matter at all. Even a few minutes after watching it, the film feels a bit like a dream. Leone wasn't just rewriting western canons, he was writing general formal laws of the genre that are still in use to this day. And not just in film, but in comics and video games as well. The work with character attributes (Eastwood's casual attitude compared to Wallach's neurotic approach, Tuco's signature custom gun), the purely superficial building of iconic shots (the gunslingers slowly disappearing into the dust after the explosion), the naturalistic cynicism ("Sorry Shorty. "), or, for example, the seemingly pointless battle sequence, which in its perfectionist handling of extras and set pieces faithfully recalls wartime illustrations of the American Civil War. Superficial Mannerist cinematography at its finest. Coppola's attention to detail, Tarkovsky's patience, a pulp story. Plus some purely music video passages, of which this is the leader, quite understandably.
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You see, in this world, there are two kinds of people, my friend. Those with loaded guns and those who dig. So dig. Three gunslingers, one treasure and maybe the best western that I’ve ever seen. This time it’s the ugly Eli Wallach, who accidentally gets involved with the American Civil War, who holds the story together. Lee Van Cleef’s Angel Eyes stands a little aside from the main story line, but he makes up for it with almost textbook villainy. And there’s Blondie Clint who, with Leone, thought up the climax to this dollar trilogy. Including the surreptitious return of the scruffy poncho to the game and the breathtaking three-way duel in the finale.
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Admittedly, in those nearly three hours, there were moments when my concentration wavered, but the music by the genius Ennio Morricone always quickly reeled me back in. Sergio Leone didn't hold back, adding something extra compared to the previous film. Alongside Clint Eastwood and Lee Van Cleef, I also got to see that notorious Calvera (at least that's who Eli Wallach will always be to me), but the movie also had a significantly better-crafted script. Despite the harsh realities of the Wild West, it included several unexpectedly touching scenes without pushing too hard. I've immensely enjoyed the film many times, and I'm certain I'll return to it again (unless failure of vital organs prevents me from doing so). / There are two lessons here, the first of which I shamelessly stole directly from the movie: "There are two kinds of people in this world, those with loaded guns and those who dig." And the second one: The film is another proof that smoking kills.
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I don't know how Leone did it. 160 minutes, each of which could be individually extracted and inserted into a scholarly film encyclopedia explaining the importance of working with mise-en-scène and narrative with a minimum of dialogue, exclusively in symbiosis with the soundtrack, the setting and the characters, who can be expected to do anything and who know things that are supposed to remain hidden from the patient viewer for a long time. Brilliant, stunning perfectionist direction, maintaining sustained tension regardless of the current nature of the scene, thanks in large part to its cold-blooded approach to its "heroes", memorable interactions between the central trio, and of course Morricone's music, as legendary and atmospheric as the film itself. There's no need to dwell on the actors, because it's hard to find anything more iconic – Wallach in particular does something incredible. If you love film and try to read it, as they say, this one must be something of an idol for you.
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I don't feel competent to claim that The Good, the Bad and the Ugly is the best film of its genre. I haven't seen that many westerns and, to be honest, modern anti-westerns like Dead Man or Dances with Wolves resonate with me more. Nevertheless, it is definitely a very entertaining and high-quality film. I don't really care for the western genre, and I have given five stars only to the absolute minimum of these films. The reason for the popularity of this film lies in the fact that Leone managed to make a film that appeals to everyone, which is rather rare in cinema. It is adventurous, thrilling, and very clever, as well as conveying an obvious anti-war message. It combines classic genre conventions with modern filmmaking elements, a traditionally excellent soundtrack, camera tricks, and occasional ventures into purely artistic waters. In certain moments, the film forgets itself and succumbs to genre clichés, such as the shootout with the Tuco's gang, where we see a traditional scene from B-movie westerns, where the hidden rifle shooter misses the gunslinger who shoots him from an unfavorable position with a quick draw. However, due to the overall lighthearted atmosphere, these few minor missteps easily fade away. Leone adeptly alternates the pace, combining genuinely humorous scenes with tragic ones, and, above all, relies on top-notch casting. The director always managed to choose actors who perfectly suited their roles, whether it was Clint Eastwood, Lee Van Cleef, or Eli Wallach. Overall impression: 90%.
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