BadMojo wrote:Yeah, I'm a sucker for Sergio Leone. There's just something so epic and almost "over the top" about his films. Everything just works perfectly. The long, slow shots...the close-ups, the music. IMO, all Once Upon a Time in the West and The Man with No Name trilogy transcent the Western genre.
I agree completely about the films transcending the genre, especially Once Upon a Time in the West. In many ways, OUATITW can be viewed as a samurai film in a Western setting. In a Western landscape transformed by impending capitalism - signified by railroad baron, Morton and the transcontinental train- Harmonica, Frank and Cheyenne were mere relics of a different time. They were samurai- abiding by a strict code of honor and entrenched in their own archaic rituals. I think this is perfectly illustrated in two scenes: the one where Harmonica and Frank share a few words before their duel. During the entirety of the film, Frank longs to elevate himself from cold-blooded assassin to ruthless businessman, understanding the superiority of the power of money. But in that scene, he confesses his inability to give up his "old ways." And though he probably could've hired a legion of hitmen to kill Harmonica, he decides to challenge him to an old-fashioned duel.
In the other scene, where Cheyenne slumps to the ground dying from a brutal stomach wound after being shot by, and symbolically killed-off, by the railroad baron. Cheyenne's death symbolically represents the death of the Old West as we know it. At the moment his body collapses, Harmonica turns away. Very samurai-like. Harmonica rides off, with Cheyenne's body in two and in the same frame a train comes rumbling into frame as the pair ride off.....Beautiful....
For the most part, I always viewed Harmonica and The-Man-With-No-Hame aka Monco as supernatural figures with their uncanny gunfighting prowess and the way magically slide into frames.
Another thing to note, I was surprised to see Leone buck his own track record and a common Western trend by making Mrs. McBain the strongest character of the movie. Whereas Frank and Cheyenne are symbolically and literally killed off and Harmonica chooses to isolate himself from the "new world," Mrs. McBain is the only that adapts to her new environment. She survives the massacre of her family, rape, etc. In essence, she becomes a maternal figure of all the citizens of the burgeoning town of Sweetwater. I think the fact that Mrs. McBain was a former prostitute created an uproar when the movie was first released, many feminists claim she was an affront to all woman. But I think they're missing the point, what better illustrates the American dream than the scene where Leone's emotional and thematic gestalt in the form of the final scene where Mrs. McBain rounds up the hardworking railroad crew, taking charge and distributing buckets of water (read Mother Earth). What better illustrates the most overlooked American freedom- the freedom to start over?
Nobody ever used the extreme close-ups as effectively as Leone did- it's as if he filmed the human face as a landscape in itself exposing all the physical nuances of his actors' faces.
Few directors could match his mastery of filming sun-baked desert environments either. It's as if he perfectly blended all the elements- the Spanish/Italian vistas, experimental Ennio Morricone score, gruff italian actors, frame manipulation, exaggeration of time/space - and cooked up something entirely surreal. During the three-way shoot-out finale of The Good, the Bad and the Ugly it's almost as though Leone toys with the audience- pushing audiences' patience to the very ragged edge before brief, explosive action. The scene itself is reminiscent of the artwork of Salvadore Dali.
Dayam....I deify the man!