My re-watch of this was back-to-back with a rewatch of Yojimbo, both for Family Movie Day. Without saying a word to prejudice him, I asked my nineteen-year-old what he thought and the verdict was unanimous: it pales in comparison to the visual grandeur, the mood and everything else about Yojimbo. 3.5*
The plot-heaviness means it's only as good as its action. These set pieces exist in the odd time period between primitiveness and modernism. Leone's action scenes were influential if not quite fully formed yet, but it's an important film that brought along the spaghetti-western genre. The first entries were surpassed in action/style by many others in the explosion, including the third film and Leone's later westerns.
It's pretty much Yojimbo with Cowboys. A needless remake like Let Me In. But all in all, it's still pretty entertaining. Wonderful score, excellent cinematography, solid acting. Still, not as good as the original source material.
After just rewatching this I have to admit that I liked it a lot more the second time around. It's not quite as dull as I remember it. That being said it's most definitely the weakest of the trilogy. The other two films are leagues better than this. I guess there's something I find inherently uninteresting in the story because I'm not a huge fan of Yojimbo either (prefer Sanjuro). Still a very fun, entertaining film.
Damn, i much prefer John Ford's vision of western (even it's more classicism and less '' cool''). This film is absurdly cliché and stupidly stereotyped at maximum. I hope that the remain of the trilogy is more profound than this one, please.
A spaghetti western remake of Yojimbo (Akira Kurosawa’s hybrid of Dashiel Hammet novels, American westerns, and the samurai film) directed by an Italian (Sergio Leone), shot in Spain, and starring an American (Clint Eastwood). A Fistful of Dollars isn’t Leone’s best film, but it’s an iconic classic full of witty one liners and high octane action! Plus, Clint Eastwood is always a badass.
"Get three coffins ready." While lacking the scope of the later Dollars pictures and Leone's "Once Upon a Time in the West," this is probably still his most lean and focused effort. Clint brought more charm and humor to The Man with No Name in his first outing, before more archetypal traits set in and defined him. Narrative economy results from ensemble staging and slick camera movement. Ennio's score is perfect.