Story of a young woman, Mrs. McBain, who moves from New Orleans to frontier Utah, on the very edge of the American West. She arrives to find her new husband and family slaughtered, but by whom? The prime suspect, coffee-lover Cheyenne, befriends her and offers to go after the real killer, assassin gang leader Frank, in her honor. He is accompanied by Harmonica, a man already on a quest to get even. Written by
DrGoodBeat / edited by statmanjeff
The main selling point to producers for the use of the Techniscope process was the savings in camera negative; but, another advantage was being able to derive the 2.35:1 aspect ratio while shooting with spherical lenses which avoided the distortion created by anamorphics during certain camera moves and extreme close-ups (such as those used by Sergio Leone). This film, together with The Good, the Bad and the Ugly (1966) (also directed by Leone and shot by Tonino Delli Colli) are now considered masterpieces in the use of the Techniscope system. See more »
In the stable scene, Harmonica says to Cheyenne, " I saw three of these dusters a short time ago. They were waiting for a train. Inside the dusters, there were three men." The three gunmen sent to kill Harmonica may have miscounted the horses but Harmonica miscounted the dusters. Only two of the three gunslingers were actually wearing a duster. See more »
Cattle Corner Station Agent:
Hey. Hey-hey-hey-hey, if you want any tickets, you'll have to go around, eh, to, eh, the front of, eh, eh... oooh, well, I s'pose it'll be all right. The hell am *I* doin' around here if they walk in and can do as they damn please?
See more »
The film's title does not appear until the end of the final scene. See more »
It doesn't get any better than this: this is movie history
This one only gets better with each viewing. Leone's masterful storytelling and Morricone's crazy, beautiful, epic soundtrack; desperate, haunted faces which look like the barren landscapes the story is set in and a plot that unfolds with impeccable pacing to culminate in THE ultimate western finale.
As in Leone's previous films, music isn't just used to add to the atmosphere but is essential to the story, or perhaps even more: Morricone's main musical theme plays the actual role of a (or rather: the) protagonist in the film.
Anyone who thought that the so called "Spaghetti westerns" were nothing but cheap, violent B-movies had to reconsider after seeing this film. It doesn't get any better than this: this is movie history; iconic, classic, unforgettable, epic. For this film, I just run out of superlatives.