Classic Review: For A Few Dollars More

By contributor Patrick Zabriskie

Stars:  ★★★★

Summary:  Just look at the title—it’s more of what you want from your spaghetti westerns.

Nobody makes posters quite this awesome anymore.

Nobody makes posters quite this awesome anymore.

Review:  He’s back—the Man with no Name.  So are the sun-drenched Spanish deserts, trigger-happy gunslingers, close-ups, showdowns, and over-the-top Morricone music.  In short, everything that’s great about this little subset of the Western genre is here in fine form and is, in fact, better than in ‘A Fistful of Dollars’.

The Man with No Name, again magnificently played by Clint Eastwood, has turned bounty hunter and now wanders the west, collecting buck for his bang on the various outlaws of the frontier.  When the opportunity to collect a fortune on the recently escaped, and certainly psychotic, bandit el Indio (Johnny Wels) arises, he sets out after him.

So has the Man in the Black, however.  A rogue colonel turned bounty killer, the Man in Black (known in the film as Colonel Mortimer and played by Lee Van Cleef), carries with him an arsenal of fire arms and is as deadly with any one of them as The Man with No Name.  He’s after Indio for his own reasons.  Inevitably, the two rivals meet up and are forced to work in an uneasy truce together to catch Indio and his gang.

I have to say that l found this film to possess a much stronger story than in the first movie.  Van Cleef and Eastwood have great chemistry together as competing gunslingers.  Even as they work together, they try their best to one-up each other while doing it.  The result is some very entertaining and amusing moments.  The filmmakers also went out of their way to cast the villain, el Indio, in a more sympathetic light.  A series of flashbacks and a key twist at the end make him more tragic rather than purely evil.  It adds a whole new layer to the Leone west, and it is a welcome addition.  Fans of ‘Fistful’ may notice that the Indio is played by the same actor who portrayed the ruthless Ramon from the first movie.  Although this is a bit confusing to people who are new to these films, these are, in fact, two different characters and should not be confused.

Ennio Morricone returns to score, delivering equally impressive yet also much livelier music this time around.  All the staples from the first film (the guitars, whistling, chanting, trumpets, etc.) are here, but he now introduces some new “twangy” instruments and increases the tempo for a more energetic affair.  To coincide with the deeper and more emotionally involving story, he also wrote very atmospheric and touching pieces which, when played during key scenes, really add to your concern for the story and investment in the characters.  One particular “chime” theme is quite moving.

Lastly, the famous cinematography is back.  The close-ups and the panoramas of desert wasteland are here, and they work as well as ever.  All of the ‘Dollars’ films were very impressively shot and, again, it really adds something special and unique to these movies.

‘For a Few Dollars More’ expounds and improves upon the template set by ‘A Fistful of Dollars’. Attacking on two fronts, it finds itself even more violent and yet also much more involving and moving than the first film.  Refining and bettering what made the first film so great, it is, quite simply, what a sequel ought to be.  In my opinion, it truly surpasses the original.

So it seems that we have a new winner for Best Spaghetti Western.  After all, this film pushed aside the legendary ‘Fistful’ to become the archetypical and bar-setting representative of its genre.  Right?  Wrong.  Just you wait…

Classic Review: A Fistful of Dollars

By contributor Patrick Zabriskie

Stars:  ★★★1/2

Summary: (From the trailer) “A Fistful of Dollars is the first film of it’s kind, it won’t be the last.”

With an introduction like that, do you really need a title on the poster?

With an introduction like that, do you really need a title on the poster?

Review:  The desert sun shines high as a mysterious gunslinger (Clint Eastwood) wanders into a dusty border town torn apart by the power struggle between a band of bandits and a sheriff who, frankly, isn’t much better.  Driven by a vague morality and empowered by being “quick on the draw”, the mysterious gunslinger takes on both factions of the fight in a battered array of violence, deception, showdowns, and retribution.

While not the first “spaghetti western” (western films made by Italian production companies), this is the film that truly defined the genre.  Essentially a remake of the classic Akira Kurosawa samurai film, Yojimbo (itself based upon an earlier American novel), this movie transcends its influences to deliver a bold new take on the American West, one vastly different from American-made westerns.  Gone are the clean shaven, morally sound cowboys and their polar opposites found in the villains; gone are luscious and beautiful landscapes of the true American West; and gone are the traditionally orchestrated pieces, saloon piano music, and country-western “sing-a-long” tunes that guided heroes on romantic exploits.

Instead we are shown the West as imitated by the harsh, barren landscapes of the Spanish desert, filled with gunfighters, all seeking a profit, whose label as “good” or “bad” depends on little more than who they’re shooting at (and trust me, there is quite a bit of shooting).  It’s a grittier, more action filled affair.

Clint Eastwood’s performance fits this new atmosphere like a glove.  In his breakthrough role, he talks tough, plays rough, and looks intimidating as the “Man With No Name”, his appearance complete with the famous cigars and poncho.  Johnny Wels, as the rifle-toting main villain, Ramon, is quite memorable as well, despite the actor being relatively unknown to American audiences.

As a template for later spaghetti westerns, this movie, of course, features the famous (some would say infamous) spaghetti western music and cinematography, both of which have been satired and imitated over the years.  Composer Ennio Morricone delivers a fresh style for the score.  Combining Spanish-themed melodies, male chanters, whistling, electric guitars, and trumpet solos, as well as more traditional orchestration at times, Morricone creates a groundbreaking and surprisingly cohesive score, one that his later scores, and those of other Italian westerns, would draw from.

Then there is the camera work.  Most people are familiar with the famous “close-up” shots on the eyes during shootouts.  It’s become such a cliché and has been parodies so many times that most people don’t realize how affective it is when creating suspense.  Leone used a variety of shots, often alternating between close-ups and long-distance shots.  He used the contrast to build tension in many of the film’s scenes. In short, it works wonderfully and really adds a new dimension to the movie.

In conclusion, ‘A Fistful of Dollars’ is everything a spaghetti western ought to be.  Some would call it shallow, violent, and lacking in morality.  I call it refreshing, and so do quite a few other people.  This film not only defined its genre, but it influenced movie making as a whole.  Films as diverse as ‘The Empire Strikes Back’ and ‘Kill Bill’, draw influence from this film.  With such a unique style and influence, one would argue that this is the best of the spaghetti westerns.  Then the sequels came …