A mentally unstable Vietnam war veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
An anonymous, but deadly man rides into a town torn by war between two factions, the Baxters and the Rojo's. Instead of fleeing or dying, as most other would do, the man schemes to play the two sides off each other, getting rich in the bargain. Written by
Andrew Hyatt <firstname.lastname@example.org>
The Man With No Name is actually called Joe in the film's dialog (by the undertaker) and in the closing credits. See more »
Joe, after entering a place for something to eat and drink, holds up what looks like a plastic wreath, looks at it then throws it down back on the table. Plastic was not around in the late 1800s. See more »
You shoot to kill, you better hit the heart. Your own words, Ramone.
[Ramone fires off two shots, but The Man With No Name stands right back up]
The heart, Ramone. Don't forget the heart. Aim for the heart, or you'll never stop me.
See more »
A classic. The first, or one of the first, films to introduce the concept of the Western antihero. Sergio Leone pioneered a lot of things here. The brightness, the oppressive sunlight. The ugly brutality of Western gunfights, that had always been cleaned up in Hollywood. I understand that Leone's occasional framing of the shooter and his victims in the same shot was not allowed at the time in American films. I thought, upon seeing this film years ago, that some characters (Eastwood) spoke in English, and other characters in Italian. Who knows, maybe some spoke Spanish or German. Must make for an interesting acting job. I rarely notice a movie's music, but the original score by Ennio Morricone was so fitting. Probably the best match of film and music up to that time, and only bested by Hugh Montenegro(?) in "The Good, the Bad, and the Ugly". A very good movie. Grade: A
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