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
Sergio Leone originally wanted Sophia Loren to play Jill McBain, and Carlo Ponti, her husband, was willing to provide a considerable amount of financial backing if she was in the film. However, Leone decided not to cast her because he feared that she would try to gain too much dominance and influence on how the film was made, given her famously headstrong and temperamental personality. He instead cast Claudia Cardinale, a personal friend of his, whom he convinced to play Jill without showing her the script. See more »
The train's box cars have four wheels, a rounded roof, and other features more akin to European railroad practice. The passenger cars have a more American appearance, but feature buffer and chain couplers which were not used on US railroads. The locomotive, though fitted with a bell, cowcatcher, and other applications seen on American engines, has a plate frame, whereas American engines have bar frames. 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?
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Sergio Leone's director credit swings down in an arc as if to stop the train. See more »
I have recently commented on Leone's GBU and was intending on reviewing AFOD and FAFDM as well as this one - OUATITW, but after reading a number of the comments about these from all the avid fans on this great site, I will simply give you a short account of how these films have affected my life. I am 55years young and saw all these films on their first release in Sydney.(late '60's) They were cut, but it didn't stop me seeing the brilliance in them. I would imagine that a lot of the members of this site are much younger than myself and have only watched these films on DVD or TV quite recently. (Stood the test of time, eh!!) (WideScreen is a must for these.) Leone's films exhibit an idealism in art that surpassed his Hollywood models (eg: Ford). Although, at the time of creation, I doubt he would have thought he was. He simply had a vision.
From film to film he improved on this. Like most artists, I don't think he was too concerned with the financial gains that might or might not be realized.(This was probably his downfall). That these little films can impress all you younger fans so much says a lot about good taste and the sad lack of it in American films of recent times.
Great directors, like Leone, don't come along every day and it saddens me greatly to know he died before he was recognised for the genius he surely was. Morricone must be 75 now, soon we will loose him too. I am a successful composer in Australia and can tell you, without bias, that Morricone is in the top five best ever film composers just from these four films alone, if not one of the best composers in general (yes, this includes Stravinsky, Bartok, Debussy and Schoenberg.) of the 20th century. Eastwood is also reaching the end of his life and although I'm not a huge fan of his recent work, he is one of the last living greats. Without the inspirations put forth by these men, I might not still be writing and recording my music these days. Plenty of times I could have stopped when things got tough but all I had to do was revisit these gems of modern art to realise that greatness does still exhist , all you have to have is the love and desire and guts to make your visions a reality. Leone, Morricone and Eastwood: I salute you.
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