Nun Sara is on the run in Mexico and is saved from cowboys by Hogan, who is preparing for a future mission to capture a French fort. The pair become good friends, but Sara never does tell him the true reason behind her being outlawed.
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 <email@example.com>
The Man With No Name is actually called Joe in the film's dialog (by the undertaker) and in the closing credits. See more »
When Chico is left alone to guard the Rojos' compound while the Rojos are fighting the Baxters, Chico is shown riding on horseback among the Rojos gang when they are riding back to the compound. See more »
My name is Esteban Rojo, my bother aked me to... what are you doing?
Don't you know all our men sleep here with us?
Well that's all very cozy, but I don't find you men all that appealing.
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The first of Sergio Leone's "spaghetti westerns" is now overshadowed by its superior successors, but remains an exciting introduction to this peculiar genre. Clint Eastwood redefined the notion of a hero in this film, a man who seems to operate by a code but doesn't feel the need to explain it. Although the U.S. advertising campaign billed Eastwood's character as "The Man With No Name," a name is one thing he does have - Joe - but almost everything else about him is a mystery except for his deadly proficiency with a gun. Leone's style would be more pronounced in later films, but this one provided the template. Eastwood is superb, of course, as is Gian Maria Volante (billed as Johnny Wells) as his deadly opponent, Ramon Rojo. If it's slow moving at times, the music of Ennio Morricone always takes up the slack.
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