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Once Upon a Time in the West (1968)

C'era una volta il West (original title)
PG-13 | | Western | 4 July 1969 (USA)
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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

Writers:

Sergio Donati (screenplay by), Sergio Leone (screenplay by) | 3 more credits »
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932 ( 79)
Top Rated Movies #36 | 4 wins & 5 nominations. See more awards »

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Cast

Complete credited cast:
Claudia Cardinale ... Jill McBain
Henry Fonda ... Frank
Jason Robards ... Manuel 'Cheyenne' Gutiérrez
Charles Bronson ... Harmonica
Gabriele Ferzetti ... Morton - Railroad Baron
Paolo Stoppa Paolo Stoppa ... Sam
Woody Strode ... Stony - Member of Frank's Gang
Jack Elam ... Snaky - Member of Frank's Gang
Keenan Wynn ... Sheriff - Auctioneer
Frank Wolff ... Brett McBain
Lionel Stander ... Barman
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Storyline

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

Plot Summary | Plot Synopsis

Taglines:

There were three men in her life. One to take her... one to love her... and one to kill her.

Genres:

Western

Motion Picture Rating (MPAA)

Rated PG-13 for western violence and brief sensuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Italy | USA

Language:

Italian | Spanish

Release Date:

4 July 1969 (USA) See more »

Also Known As:

There Was Once the West See more »

Filming Locations:

Bavispe, Sonora, Mexico See more »

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Box Office

Budget:

$5,000,000 (estimated)

Gross USA:

$5,321,508, 22 June 1984
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (extended) | (1970) | (theatrical)

Sound Mix:

Mono | Dolby (2003 DVD release)

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

The final duel between Frank and Harmonica was shot almost exactly like the one in The Last Sunset (1961) between Rock Hudson and Kirk Douglas, a film, of which, Bernardo Bertolucci was a huge fan. See more »

Goofs

Harmonica says that steam locomotives cannot do without water. But the word "steam locomotive" did not yet exist. All locomotives were steam locomotives. See more »

Quotes

[first lines]
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 »

Crazy Credits

Lionel Stander receives on screen credit in the original U.S. theatre release prints even though his part was completely cut out of this shortened version. See more »

Alternate Versions

Fulvio Morsella and Bino Cicogna are credited as producer and executive producer respectively in the English-language version, but these roles are swapped on Italian prints. See more »

Connections

Referenced in We Are the Strange (2007) See more »

Soundtracks

In Una Stanza Con Poca Luce
Composed By, Orchestrated and Conducted by Ennio Morricone
Published by Universal Music Publishing Ricordi srl
(P) 1969 Sergio Leone Productions
See more »

Frequently Asked Questions

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User Reviews

"Something To Do With Death"
4 January 2001 | by stryker-5See all my reviews

Sergio goes Hollywood for this big-name, big-budget Spaghetti Western. Fonda, Bronson, Robards and Cardinale queue up and take Leone's choreographic direction in an epic tale of blood and revenge.

Frank is a bad guy who has killed a lot of people. He now works for a railroad entrepreneur whose ruthless sterile tracks are spreading ever westward. The time has come for the real Americans to confront both the railroad and Frank.

Leone sat down with film intellectuals Bernardo Bertolucci and Dario Argento and watched dozens of Hollywood westerns. From this saturation-viewing emerged a 300-page treatment which was eventually distilled into the script, penned by Leone and Sergio Donati. There are conscious echoes of "Shane" and "High Noon" in the meticulously-plotted screenplay. Ennio Morricone apparently sat in on the planning stage and had composed the score in toto before shooting began, the reverese of the usual process of fitting music to existing footage. The result is a tight matching of soundtrack and visuals. Robards, Bronson and Cardinale each have musical 'signatures' which play whenever their characters are onscreen. Bronson's is an eerily-wailing harmonica, Robards has the plonking banjo and Cardinale the lush strings. So intricately was everything structured that the themes were available to be played on set, so that the actors could co-ordinate every nuance of gesture to fit with the score.

The film is a grandiose lament to the death of the Wild West. Decay is everywhere to be seen. Streets, bars, buildings and people all have a beat-up, grungy look. When Cheyenne (Robards) pauses beside a rough-hewn wooden post, there is little difference in texture between his face and the post. Morton the cripple is killing the romantic West of open spaces with his "snail trail" of railroad tracks, leaving the fine adventurous men (Cheyenne and Harmonica) nowhere to go.

There can be few opening scenes with the visual and aural brilliance of this one. Three bad guys stake out Flagstone's railroad depot in a High Noon pastiche. Jack Elam (who was actually in "High Noon") leads the villains. The only spoken words throughout this long (but totally gripping) scene are uttered by the old station clerk. Haunting rhythms raise the tension to an unbearable pitch ... the squeaking windmill, the chattering tickertape, the creaking bench. This wonderful crescendo climaxes with the appearance of Bronson, a sequence as stylised and choreographed as a Shinto ceremony, all the more effective for the absence of spontaneity.

Equal to and counterbalancing this scene is the very next one, the introduction of Frank. This time it is "Shane" that gets the treatment as the McBain boy spots five men in yellow duster topcoats. A growing sense of unease on the McBain homestead is beautifully conveyed (was the stopping of a cicada chirp ever so effective?) A cinematic multiple orgasm ensues, with the musical theme crashing in as the boy sees the devastation, and the camera swoops round to reveal the baddie to be none other than Henry Fonda as Morricone's trademark solitary tubular bell peals out.

Cheyenne's entrance is also a piece of impressive cinema. Inside Lionel Stander's strange labyrinthine tavern, quite unlike any saloon ever filmed before, the violence which hovers around Cheyenne like a dustcloud is heard but not seen, preparing us for his appearance in person. The sliding of the lamp towards Bronson works brilliantly, the film's two good men sharing the light of humour, the symbolic forging of a meaningful friendship.

By a slow accretion, the plot reveals itself. The leviathan of the railroad must be stopped, and there must be a reckoning with Frank. Gradually the fates of the main characters converge, and swim into sharp focus for the shoot-out.

It is not the story, excellent though that is, which lingers in the memory, but rather a hundred individual flashes of brilliance: Claudia Cardinale (are those eyes for real?) filmed on the bed, viewed vertically downward, through a lace canopy: Cheyenne's surprise method of concealing himself on the train: Morton ("when you're not on that train, you're like a turtle out of its shell") imprisoned by the armature that helps him walk: the 'heartbeat' of the train's engine during the cardgame: the tension of the ambush preparations against Frank: the eruption of guitar music as Bronson enters the frame: Bronson's stillness and self-possession, the emblem of his righteousness: Fonda's eyes flickering rapidly in his motionless head, denoting the waning of his self-confidence: the amazing super-close-ups of Bronson: and the weird brick arch, the only man-made intrusion into the entire terrain, and the focus of human depravity.


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