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.
Extra delightful, after learning the sociopolitical context of Spaghetti Westerns - as an adult - to realize that my childhood exposure to Americana was stacked with so much beautiful subversion. Well played, Leone et al.! As if I needed more reasons to love this... Such a sucker for this aesthetic (the framing; the close-ups; the score!!) File under: Top 20 Movies I'll Never Tire of Watching.
Our Daily Free Stream: Sergio Leone - The Good, The Bad & The Ugly. Eine gewaltige Leere, so eröffnet sich die Landschaft vor uns. Ganz langsam kreist die Kamera, hält schliesslich inne(...) Die Landschaft war nicht gänzlich verlassen, sondern besetzt durch einen Desperado. Mit dieser ersten Szene eröffnet uns Sergio Leone seine Technik und die wird er beibehalten: Unser Blick ist begrenzt durch den Bildrand.(...)