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A Fistful of Dollars (1964)

Per un pugno di dollari (original title)
A wandering gunfighter plays two rival families against each other in a town torn apart by greed, pride, and revenge.

Director:

(as Bob Robertson)

Writers:

(story) (as A. Bonzzoni), (dialogue) | 5 more credits »
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2,714 ( 92)

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1 win & 2 nominations. See more awards »

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Cast

Complete credited cast:
... Joe
... Marisol
... Ramón Rojo (as John Wells) (as Johnny Wels)
Wolfgang Lukschy ... John Baxter (as W. Lukschy)
... Esteban Rojo (as S. Rupp)
Joseph Egger ... Piripero (as Joe Edger)
... Don Miguel Benito Rojo
José Calvo ... Silvanito (as Jose Calvo)
... Consuelo Baxter (as Margherita Lozano)
... Julián (as Daniel Martin)
Benito Stefanelli ... Rubio (as Benny Reeves)
... Chico (as Richard Stuyvesant)
Bruno Carotenuto ... Antonio Baxter (as Carol Brown)
... Rojo gang member (as Aldo Sambreli)
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Storyline

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 <dres@uiuc.edu>

Plot Summary | Plot Synopsis

Taglines:

In his own way he is, perhaps, the most dangerous man who ever lived! See more »

Genres:

Western

Motion Picture Rating (MPAA)

Rated R for violence | See all certifications »

Parents Guide:

 »
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Details

Country:

| |

Language:

|

Release Date:

18 January 1967 (USA)  »

Also Known As:

A Fist Full of Dollars  »

Filming Locations:

 »

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Box Office

Budget:

$200,000 (estimated)

Gross USA:

$14,500,000
See more on IMDbPro »

Company Credits

Show more on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

Clint Eastwood's trademark squint was caused by the combination of the sun and high-wattage arc lamps on the set. See more »

Goofs

While Chico carries Joe back to his room after the party, the camera shows Joe has no facial hair. Also, when Joe enters his room after the massacre, Rubio is a different actor; Ramón's mustache is parted. See more »

Quotes

Joe: You shoot to kill, you better hit the heart. Your own words, Ramon.
[Ramon fires off two shots, but The Man With No Name stands right back up]
Joe: The heart, Ramon. Don't forget the heart. Aim for the heart, or you'll never stop me.
See more »

Connections

Referenced in Campus Confidential (2005) See more »

Soundtracks

Sweet Betsy from Pike
(uncredited)
Written by John A. Stone
Performed by Clint Eastwood
See more »

Frequently Asked Questions

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User Reviews

 
"My mistake. Four coffins"
31 October 2005 | by See all my reviews

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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