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 bartender's laugh (around 32:00) can be heard in the beginning of Ministry's song "You Know What You Are". See more »
The action before, during, and after the graveyard fight alternates between taking place during the day and night. The Rojos leave in pitch darkness, cut together with scenes of the Baxters riding out in cloudy daylight. The fight takes place during the day while Joe sneaks into the Rojo house at night. When the Rojos return home, it's night again. See more »
[Joe asks who Marisol is]
She is a woman. And Ramon is madly in love with her.
Everyone talks about Ramon. Kind of curious to meet him.
If you are smart, you will stay clear of Ramon for as long as possible!
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When the film first aired on American TV (ABC) in August 1977, a network executive ordered the creation of a new prologue (directed by ) to give a moral justification for the lead character's killings: a prison warden () 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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