If Gone With The Wind was a Western, it would look a lot like this. Everything about it is exquisite, from the never better Morricone score to the nuanced performances (Coffee shines). But the Civil War haunts everything, imbuing the film with the compassion and profound sadness of an outside perspective. I found myself weeping, but this is not an elegiac film. It's full blooded, entertaining, brutal. And perfect.
Rarely has film bent its own logic and style towards self-deconstruction whilst at the same time remaining true to the myth it aimed to serve. Grandeur bombards the viewer from all corners: style, score, character, tension.There is an uncanny aura of WWII iconography (as in the POWs orchestra in the camp) and the 'feminization/sexualization' of Tuco is given in three hilarious yet glorious vignettes. Extraordinary!
Had the pleasure of seeing this one on the big screen recently, and it only reinforced its classic status. It's still sharp, it doesn't get boring, tells a simple, but an effective story with cool characters. And the camera work also cannot be appreciated until after you see it in cinema.
67/100 (69 puana 4 yıldız veriğim için mecburen veriyorum. Yani amaç bu ahmakça 4,4 puanı rahatlıkla düşürmek. Hadi bir mantık hatası, iki saçmalık görmediniz. Ama 100 tane mantık hatası olan bir film için bu puan gerizekalılık simgesidir. Başarılı sonu, iyi müziği ve Ugly karakteri dışında kötü film. Yani oldukça kötü demek oluyor ama neden bu gibi yüksek puanı verdiğimi ben de bilmiyorum. Sanırım çocukluk etkisi.)
One of the most audience friendly, action-filled and plain fun westerns that has ever been produced with priceless and breathtaking use of the camera. The phenomenal music and Eli Wallach steals scenes whenever he appears, but Lee Van Cleef also does his most to outshine everyone. A true "ecstasy of gold" film.
Western à la sauce spaghettis, qui n'a rien perdu de son humour discret et de son épicée saveur. Une solide réussite dans le genre et dont la lancinante musique traîne encore dans toutes les oreilles. Une oeuvre qui se revoit donc avec un réel plaisir... www.cinefiches.com
Watching this amiss the glut of modern superhero films, it's quite striking how much this series has in common with the modern multiplex action film: cheeky one-liners, outrageous action scenes, heavy plotting over storytelling, dark superhero-like anti-heroes, even colorful villains. It shows commercial action films haven't changed as much as some claim, perhaps in setting only. Still better than its ilk, though.
I hadn't watched this since high school, so I was eager to revisit it to see if it was more than just an exercise in movie cool. At first, I found it crueler than I remembered, a work of violent aestheticism without reflection. But as this epic goes on, the way that the nihilistic swagger of its gold-crazy trio bounces off scenes of men ruined by war achieves a peculiar rhyme. Hell, the finale is almost heartwarming.
Sergio Leone, part 3. Definitely better than the two previous ones. At the age of 51 Eli Wallach is playing "the role" of his career; emazing performance. Also the supporting cast is doing better. But far away from being a masterpiece. However, we know Mr. Leone can do, will do much better; more to come: 1968, 1973 &1984. Solid entertainment.
One of those big movies that was, until recently, screaming “Watch Me!” from the bountiful pile of films I have somehow failed to see yet. I’m left afterwards with amazement at the technical ability of the film, which is, in it’s look and feel, shockingly ahead of it’s time. Other than that, I feel mostly disappointed. I guess high expectations will do that for ya.