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A Fistful of Dollars
In the mid-1960's, a curious movie genre was created: films about the American West, but produced in European countries, and sometimes
with American stars. This was of course the spaghetti Western, an often pejorative term referring to the films' low budgets and less
than perfect dubbing. I'll have more to say about this genre later, but for right now, all you need to know is that it started with a
neat little Italian movie, financed with German money, filmed in Spain, and featuring an American star. It wasn't the first, but the
greatest of all spaghetti Westerns was undoubtedly Sergio Leone's A Fistful of Dollars.
Movie Westerns had of course existed since the very beginning of motion pictures, going back at least to 1903's The Great Train
Robbery; but by the mid-1960's the old cowboys were barely limping along. Certainly, they still appeared in abundance on
television - Rawhide, Big Valley, High Chapparal, etc. - but it was often recognized that the television screen
acted as the old Western heroes' last roundup. When the genre stopped appearing there, it would be dead.
Of course, it still lived on in the hearts of its fans. One such fan, to our great advantage, was the Italian Sergio Leone. Leone
was a fantastically talented director who was especially adept at squeezing every bit he could out of the widescreen format; he was
also enamored of America's Old West, and had an encyclopedic knowledge of the period's history, its prominent figures, even the
firearms used then. He had only directed one film so far, The Colossus of Rhodes, one of the last in a seemingly endless
strongman/sword-and-sandal pictures that featured characters like Hercules, Samson, or the homegrown Maciste.
When Leone got the go-ahead to do his Western project il Magnifico Stragnero (aka The Magnificent Stranger), he naturally
wanted one of the older Western stars he admired so much - somebody like Henry Fonda, or maybe Lee Marvin. He was turned down by
every big name he considered, however - the script read terribly, and the salary was kind of low. What Leone needed was an actor,
even a young one, with the requisite gravitas, but who was willing to work cheaply. Fortunately for him, Clint Eastwood had always
wanted to visit Europe on somebody else's nickel, and was available over the summer between seasons of Rawhide. Although
Eastwood was young, he was able to carry himself onscreen as an older, deadlier, craftier man; and, perhaps most importantly, he was
willing to do the part for only $15,000. Hey, free trip, some folding money, a few weeks' shooting - how bad could it be? Besides,
no one ever saw these Italian pictures except the movie-crazy Italian public.
Eastwood spoke maybe three words of the local language when he arrived - but that was okay, because as on many such co-productions
(Fistful was an Italian-German coproduction, a common economic arrangement at the time) the cast and crew were often an
unusually multi-cultural group. Starring alongside the young American was Gian Maria Volonte, a handsome stage actor who would
appear in further genre films (including this one's immediate sequel, For A Few Dollars More); here he played the main villain,
the dangerous and charismatic Ramon Rojo. Marianne Koch, who portrayed the beautiful Marisol whom Ramon stole away from her family,
was included at the insistence of the film's financiers; she was a big name in German cinema and would provide a small
boost to the film's chances there.
The story had been written in three weeks; it was clearly a redoing of Kurosawa's Yojimbo.
Not only does it take that film's basic plot, but many scenes are reproduced, updated to the Western locale and setting. (This had
happened previously when Kurosawa's Seven Samurai was remade as Hollywood's The Magnificent Seven.) A lone gunman pits
himself between two rival gangs, hoping to profit by first hiring himself out to one group, then the other, always playing both sides
against the middle. Eastwood's character is known simply as The Man With No Name, and indeed the character is meant to be a sort of
cipher, a lone gunman without a past or, perhaps, a future. Since the Italian writers and director felt no need to carry the baggage
of American standards and practices (much less our Puritan heritage), their cowboy picture could be bloodier, darker, more nihilistic.
It was said that in an American Western, the cowboy could shoot the badguy, but the two must never be seen onscreen together while
he's doing it. The first dramatic gunfight in Fistful, of course, shows exactly that as TMWNN blows away four Baxter henchmen
with style and ease.
Fistful proved to be a box office smash hit within a short time, capturing the imaginations of audiences across Europe. Rarely
had a genre Italian film (unlike the more artsy exports such as Fellini's offerings) moved beyond that country's borders with such
success. Back in America, Clint Eastwood was completely oblivious to the fact that he had become a European superstar virtually
overnight. He had heard about the success of another Italian Western, but not his own - until he was told that The Magnificent
Stranger had been retitled, and was astonished that his little summer project had grown so in his absence. By the time the film
debuted in America in 1967 (Kurosawa having introduced legal complications over its copyright), Eastwood had gone back to do two more
films with Leone, For A Few Dollars More and The Good, The Bad, And The Ugly.
Thus was a genre born. Italian audiences tended to follow a movie trand until they had wrung the last drop of interest from it, and so
after the fade of the strongman films, the Western took over. Over the next ten years over 500 'spaghetti Westerns' (as their critics
referred to them, with a sniff of dismissal) would appear. Many of them would, truthfully, be rather poor, but most would be enjoyable,
and a small handful would be absolutely masterful. The Man With No Name became an iconic figure, not only inspiring such spaghetti
Western protagonists as Django and Sartana, but also referenced in numerous films and television shows.
new - View the original trailer here