A mysterious stranger with a harmonica joins forces with a notorious desperado to protect a beautiful widow from a ruthless assassin working for the railroad.
Director:
Sergio Leone
Stars:
Henry Fonda,
Charles Bronson,
Claudia Cardinale
Retired Old West gunslinger William Munny (Clint Eastwood) reluctantly takes on one last job, with the help of his old partner Ned Logan (Morgan Freeman) and a young man, The "Schofield Kid" (Jaimz Woolvett).
Director:
Clint Eastwood
Stars:
Clint Eastwood,
Gene Hackman,
Morgan Freeman
When a madman calling himself "the Scorpio Killer" menaces the city, tough as nails San Francisco Police Inspector "Dirty" Harry Callahan is assigned to track down and ferret out the crazed psychopath.
Director:
Don Siegel
Stars:
Clint Eastwood,
Andrew Robinson,
Harry Guardino
A gun fighting stranger comes to the small settlement of Lago and is hired to bring the townsfolk together in an attempt to hold off three outlaws who are on their way.
A former Prohibition-era Jewish gangster returns to the Lower East Side of Manhattan over thirty years later, where he once again must confront the ghosts and regrets of his old life.
Director:
Sergio Leone
Stars:
Robert De Niro,
James Woods,
Elizabeth McGovern
San Francisco Inspector "Dirty" Harry Callahan is on the trail of vigilante Police Officers who are not above going beyond the law to kill the city's undesirables.
Director:
Ted Post
Stars:
Clint Eastwood,
Hal Holbrook,
Mitchell Ryan
An anonymous, but deadly man rides into a town torn by war between two factions, the Baxters and the Rojos. Instead of fleeing or dying, as most others would do, the man schemes to play the two sides off against each other, getting rich in the bargain.Written by
Andrew Hyatt <dres@uiuc.edu>
In a rather unusual move, a lot of Ennio Morricone's score was composed before this movie was shot. See more »
Goofs
Obvious day for night shots during the graveyard shootout. See more »
Quotes
Don Miguel Rojo:
That's the right idea? You didn't misunderstand?
Joe:
I get the wrong idea only when it suits me.
Ramon Rojo:
You are well informed, eh?
Joe:
A man's life in these parts often depends on a mere scrap of information. Your brother's own words.
Ramon Rojo:
Tell me. Why are you doing this for us?
Joe:
[Holds out his hand with a response that is almost a question]
Five hundred dollars.
See more »
Alternate Versions
When the film first aired on American TV (ABC) in August 1977, a network executive ordered the creation of a new prologue (directed by Monte Hellman) to give a moral justification for the lead character's killings: a prison warden (Harry Dean Stanton) commutes "The Man With No Name's" sentence if he goes to San Miguel and restores order to the town. Neither Eastwood or Leone participated in this new sequence ("The Man With No Name" is seen only from the rear), and this distortion of Leone's creative vision has reportedly been dropped from subsequent presentations. This prologue can be found on the Special Edition DVD and later Blu-Ray release along with an interview with Harry Dean Stanton about its making and sourcing from a Betamax copy of the ABC American TV broadcast. See more »
ALthough in many respects this film pales in comparison with Leone's later films, it is itself a brilliant cinematic achievement. In part, this is because its failings primarily appear to be due to constraints of budget (very small and highly uncertain) and time more than anything else. Even to the extent that the skills of Leone, Morricone, and others hadn't fully flowered yet, this film is incredible at how brilliantly it is handled for what is really a first-time go. Leone had worked on, and even directed, films before, but this is his first real foray in his own direction, and into a genre that he revolutionised and with which he became forever synonymous. Who can imagine westerns without at least thinking of Leone's films, while who can think of Leone without thinking of westerns (even though his last, and arguably greatest, film was a sort of gangster film)? Similarly, one should not criticize this film for being based on Yojimbo, for that film itself was based on an American story while A Fistful of Dollars really is very different in many key respects, not least of all Leone's visual style or his own sense of irony and symbolism derived from Italian precedents and Hollywood westerns.
We also see the nascent Leone visual style here, with the close-up style and contrast of close-ups and long shots appearing. This alone sets it apart from previous films, westerns and non-westerns alike, and still provides for great visual treats that one can appreciate today.
This film also ushered in Leone's obsession with details, hard faces, grungy people, etc., that also revolutionsed the genre.
This films also marks the first brilliant score of Ennio Morricone. It is here that he introduced the lonely whistling, guitar music, chorus, and unusual combinations and styles that developed into the music that has become in the U.S. synonymous with westerns and duels in the same way that Leone's visuals and themes have.
Despite its minor flaws, this is still a great film that is not only revolutionary but still great and fun to watch even today. Like Leone's other films, it is timeless.
One must also admit that it is amazing that in the U.S. an Italian film maker basing his films partly in Italian culture and an Italian composer could come to so define and be synonymous with this genre that Americans had considered so uniquely American, and highlight its underlying universality. That alone reveals the greatness of the films, of which this is the first.
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ALthough in many respects this film pales in comparison with Leone's later films, it is itself a brilliant cinematic achievement. In part, this is because its failings primarily appear to be due to constraints of budget (very small and highly uncertain) and time more than anything else. Even to the extent that the skills of Leone, Morricone, and others hadn't fully flowered yet, this film is incredible at how brilliantly it is handled for what is really a first-time go. Leone had worked on, and even directed, films before, but this is his first real foray in his own direction, and into a genre that he revolutionised and with which he became forever synonymous. Who can imagine westerns without at least thinking of Leone's films, while who can think of Leone without thinking of westerns (even though his last, and arguably greatest, film was a sort of gangster film)? Similarly, one should not criticize this film for being based on Yojimbo, for that film itself was based on an American story while A Fistful of Dollars really is very different in many key respects, not least of all Leone's visual style or his own sense of irony and symbolism derived from Italian precedents and Hollywood westerns.
We also see the nascent Leone visual style here, with the close-up style and contrast of close-ups and long shots appearing. This alone sets it apart from previous films, westerns and non-westerns alike, and still provides for great visual treats that one can appreciate today.
This film also ushered in Leone's obsession with details, hard faces, grungy people, etc., that also revolutionsed the genre.
This films also marks the first brilliant score of Ennio Morricone. It is here that he introduced the lonely whistling, guitar music, chorus, and unusual combinations and styles that developed into the music that has become in the U.S. synonymous with westerns and duels in the same way that Leone's visuals and themes have.
Despite its minor flaws, this is still a great film that is not only revolutionary but still great and fun to watch even today. Like Leone's other films, it is timeless.
One must also admit that it is amazing that in the U.S. an Italian film maker basing his films partly in Italian culture and an Italian composer could come to so define and be synonymous with this genre that Americans had considered so uniquely American, and highlight its underlying universality. That alone reveals the greatness of the films, of which this is the first.