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Last Active 09-06-22 1:37 pm
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| FILM: tectac's Sergio Leone, Ranked
One of my favorite directors (constantly appearing in my ever-rotating Top Three at various positions), even given the relatively small-scope of his relatively too-short career. Whether or not Westerns were āyour thing,ā itās impossible to deny both Leoneās raw talent as a director and the cultural impact his films - most specifically, his āDollars Trilogyā - had on a suffocating, all-but-forgotten genre. The man was a genius and his collaborative efforts with the likes of Eastwood and Morricone over the years allowed for such a tightly-knit, personal canon that I cherish very deeply.
For those interested (or purely masochistic), I wrote an extended piece on his Dollars Trilogy, which can be found here: https://blog.eiga.me/western | | 7 |  | Colossus (SD)
Time and Eternal
>> THE COLOSSUS OF RHODES (1961)
Not great, but not remotely the train wreck others would have you believe. When appraised in the shadow of Leoneās subsequent, more self-assured pictures, itās bound to look paltry and infinitesimalāSergio hadnāt acquired a sense of his own style yet, and you can tell this wasnāt material he was eager to work with in the first place. Assessed in a complete vacuum, though, itās truly not a bad film, except for some dodgy choreography (which I attribute mostly to the inexpensive, second-rate actors i.e., common budgetary woes) and lack of procedural tightness. Leoneās spatial cognizance is absent (as it hadnāt yet existed), but thereās a metered precision to the cameraās movements such that you can feel the originative gamesmanship teeming below the surface, waiting to burst free in a realm of complete creative control. Stormy battle climax showcases his eye for grime and clashing testosterone: Themes that would eventually define his too-short career. | | 6 |  | Ennio Morricone
Duck, You Sucker!
>> DUCK, YOU SUCKER (1971)
Take this second-to-last position not as a slam against the film itself, but a testament to how great Leoneās oeuvre isāI love this movie, which means he made five others I somehow love *even more*. His first (and only) film with a Zapata spin, enriched in the Mexican Revolution and conjoining two unlikely partnersāa Mexican outlaw and an Irish-Republican demolitions expert. Lacks the steely nebulosity of Eastwoodās āMan With Several Names,ā but the complementary whimsy between Steiger and Coburn does a decent job of patching the gaps, and the legitimate bond that forms from the dual-pretenses of using the other merely for self-benefit is my favorite kind of microwavable heart-rending among two male leads. (That, or the assured baddie who casually ālooks the other wayā e.g. the end of CASABLANCA.) Leoneās rawest film to date, and while Morriconeās score wouldnāt retain the same notoriety as his other pieces, the main theme is exquisitely unique. Lovely film. | | 5 |  | Ennio Morricone
A Fistful of Dollars
>> A FISTFUL OF DOLLARS (1964)
My deepest cinephile skeleton: I prefer this to Kurosawaās YOJIMBO by a walk. Maybe Iām not being fair by refusing to discredit Leone for the blatant plagiarismāit occasionally resembles a shot-for-shot remakeābut, plainly and simply, I prefer the old Western milieu to the samurai backdrop (just personal preference), and while YOJIMBO marked yet another healthy stepping stone in Kurosawaās catalog, FISTFUL represented the grand cataclysm of three careers erupting at once: Leoneās, Eastwoodās, and Morriconeās. Rough around the edges when compared to the follow-ups of the unofficial trilogy, but part of the superficial grit is what makes FISTFUL so blithely endearing. Itās truncated runtime still manages to pack in a hardened anti-heroic persona that would define an era, a score that would burst open the floodgates, and a directorial confidence that would continue to hone. The POV shot from behind the gun at Eastwoodās hip is the ākill camā of the 60s. | | 4 |  | Ennio Morricone
Once Upon a Time in the West
>> ONCE UPON A TIME IN THE WEST (1968)
This is one step shy of a masterpiece: My only real complaint is that it relies too heavily on signposted Big Moments, threatening to sweep the deck awash with non-stop grandiosity. But badass machismo and gunky human amorality of this degree is so goddamn entertaining that bellyaching about ātoo muchā sounds a bit silly. (Coda drags just a teensy, too, once Frankās fate is forced upon himā¦but thatās for another time.) This is probably the most ingenious use of deliberate plodding I can think ofāthat opening sequence encapsulates the meditative, slowly accruing tension that swallows the entire film. Itās Leoneās most sprawling work, but it never feels like a deliberate mareās nest, all coalesced by a throughline of sweltering testosterone at the hands of land, money, and one fine dame. The most brilliant thing about this was the decision to cast Fondaāa stereotypical āgood guyāāas the villain. The slow pan up to him holding the gun is chilling. | | 3 |  | Ennio Morricone
Once Upon a Time in America
>> ONCE UPON A TIME IN AMERICA (1984)
Leoneās final film, his longest film, his dirtiest film, his most uncompromising film, and ample proof that the man could do more than direct Spaghetti westernsāhard to think of a more perfect swan song. Employs an entwined timelines like e.g. THE GODFATHER PART II, but to an undeniably greater effect, not merely telling multiple stories in parallel but amassing a logical anthology of one manās battered will and bruised psyche, an endgame that begun nearly half a century prior. Includes one of the most uncomfortable scenes I can call to mind, but thatās Leoneās specialty. He never worried about shrouding characters in justifiable pretext, he showed them baldly: Inaccessible monsters with traces of conscience and misaligned emotions. The remarkable aplomb of his Spaghetti westerns transposed to the climate of 20th Century New York City makes for a bracing and surprisingly heady experience. Final ambiguous shot for the ages (Nolan, take notes). | | 2 |  | Ennio Morricone
For a Few Dollars More
>> FOR A FEW DOLLARS MORE (1965)
Hard to think we live in a world where a director created this and itās somehow *not* my favorite film of theirs. Such a gargantuanly assured improvement over FISTFUL (which was already great) from nearly every facet: A wholly original story with commandeering personalities (now with an equally adept gunslinger to work alongside Clint), more anxiety-ridden passages of increasingly cyclic edits, stronger absorption into the dauntingly molten atmosphere, and for my money, Morriconeās single most arresting piece of workāname a better audible cue than Mortimerās pocket watch chime, I dare you. It often gets overlooked, but the climax of this film is the boldest decision Leone ever made. Eastwood had been established as the poster boy for this film based on his success in FISTFULāthe reinvigorated antiheroāand Sergio has him sitting on the goddamn sidelines during the culminating stand-off, watching while Van Cleef takes the reins. Subversive and genius. | | 1 |  | Ennio Morricone
The Good, the Bad and the Ugly
>> THE GOOD, THE BAD, & THE UGLY (1966)
To explain why this film is an unequivocal masterpiece and so near and dear to me would take far more space than Sputnikās 1,000-character max allows, so I will whittle down my praise to something more specific: The final twenty minutes of this film are quite possibly my favorite twenty minutes ever put to celluloid. All of Leoneās handiwork and steadily-growing trademarksāthe uncomfortably warm, juxtaposing facial close ups; the towering apparition brought on by the searing topography; the pot-boiling hotbox of seedy, self-serving rectitude and blatant disregard for human life; the unwavering and pitiless personalities; the unbearable tension that can be derived from a simple glace; the dense, cyclic, and impossibly taught editingāare culminated, polished, and succinctly packed into the filmās grand finale, beginning with the discovery of a graveyard and rupturing with the mediumās most celebrated Mexican stand-off. A revolutionary picture. | |
tectactoe
11.25.19 | Forgot who requested this, but here ya go. One of my favorite filmmakers (Top Three, easily).
For those who might be interested, here's a long-ass piece I wrote about the entire DOLLARS trilogy and how its various contributors helped to reshape a genre:
https://blog.eiga.me/western | BlindHouse
11.25.19 | Good timing on this; I just watched Once Upon A Time in America for the first time yesterday. Excellent writeups as always. | tectactoe
11.25.19 | Nice (and thanks). How did you like it? (How about compared to Leone's other films?) | BlindHouse
11.25.19 | I'm not very familiar with Leone, I've only seen The Good, The Bad and The Ugly and I kind of struggle with Westerns. I thought Once Upon A Time in America was excellent: epic, emotional film-making which manages to justify its lengthy runtime. Every time period was so well realised. | Trifolium
11.25.19 | 1, 2, 4 and 5 are all hair raisingly good. 4 is my gun-to-the-head all time fave movie. Going every time it screens in a theatre near me. But you're right, those final minutes on the graveyard in GBU are absolutely perfect.
I'll check 3, never seen it before and I don't know why. | tectactoe
11.25.19 | Can understand WEST being someone's favorite Leone, for sure. Realistically, any of the first four would make justifiable choices for Leone's best. I get how an aversion to the Western genre would make Leone seem completely unappetizing since they account for over 70% of his filmography, but his are so unlike any before or after that I never get the same giddy feeling when watching other Westerns. (Don't mistake me, though - there are plenty of "others" Westerns which I would easily rank alongside Leone's best, I just enjoy them for different reasons, usually.) | Trifolium
11.25.19 | His Westerns are so cinematic, just a love letter to movie making as far as I'm concerned.
I get what you mean though yeah, if you don't like that style and cannot handle the slowness of some of the stretches (which to me add to the tension, rhythm, excitement massively) it can definitely fall short. | Larkinhill
11.25.19 | Iām ashamed to admit this as a self proclaimed and very well versed film buff who has seen an impressive number of movies, but Iāve only seen Once Upon a Time in America and The Good The Bad and the Ugly, the latter when I was a kid. America is an absolute masterpiece and yeah, that scene is extra levels of wtf. I really need to make it a point to see all of his films. | Larkinhill
11.25.19 | Tri ā you gotta see America man, itās amazing. And I obviously need to see all the other films on the list so youāre well ahead of me lol. | hadeserbonfa
11.25.19 | I really dislike 5. I had a constant feeling of deja vu with it, only to learn it was heavily inspired by Yojimbo, which I had watched a year earlier. And I'm not even the biggest Yojimbo fan. Otherwise, super strong filmography but I'm yet to see Once Upon a Time In America. | DominionMM1
11.25.19 | 1 is still probably my favorite film ever | tectactoe
11.25.19 | "1 is still probably my favorite film ever"
Nice choice :) It's sitting somewhere just on the Fringe of my Top 10.
@Larkin: if you liked GBU well enough as a kid, I imagine you'll find merit to the rest of his Westerns, even if they are (slightly) inferior. The Dollars trilogy is probably my favorite "unofficial trilogy" in all of film-dom.
@hadeser: understandable, and I know many (most!) people prefer YOJIMBO to FISTFUL anyway, given that they are so very similar and the former is indeed original. but being honest with myself, it mostly comes down to the superficial pleasures that I enjoy more. | tectactoe
11.25.19 | though - despite my great love for all these films - the voice dubbing and mis-synced audio, especially noticeable in the earlier movies, drives me up a wall just a bit. | Trifolium
11.25.19 | Will do Lark, I'm very curious what he did with another genre. | Trifolium
11.25.19 | This crane shot is one of my fave movie moments. So bombastic but so perfect.
The way the music and camera movement are synced is totally incredible. Poor Jill...
https://youtu.be/7WPMoVtHSOs | hadeserbonfa
11.25.19 | haha I adore those voice dubbings in old Italian movies. Fellini toys majestically with it. | tectactoe
11.25.19 | Hah, it becomes endearing once you get used to it, I guess, but I wouldn't hesitate to get rid of it if somehow given the chance. | Winesburgohio
11.25.19 | *extremely good bad and ugly whistling noise* that write-up for 5? let's just say when i have to shoot...
no great write-up as always, despite sacrilegious imputations towards Daddy Kurosawa. also had no idea he directed 3! an absolutely phenomenal film that so many filmmakers (even Scorcese) have tried to emulate and with no success. anyway terrific list cheers | tectactoe
11.25.19 | Thanks Wines (nice Walloch reference too tbh).
Much love to daddy Kuro, as any self respecting cinephile wild say, though admittedly YOJIMBO is like, upper-mid tier for me. Favorite is HIGH AND LOW, followed by SEVEN SAMURAI, RAN, and maybe THRONE OF BLOOD.
(Most overrated is RASHOMON, and Iād go so far as to say I actively dislike that film. Please donāt garrote me.) | Winesburgohio
11.25.19 | *garrotes you lol* Seven Samurai is my favourite, but a super under-rated one is his rendition of The Idiot, strongly recommended (great to see Throne of Blood get some rep)
but back to the topic at hand: one thing i love about The Good, The Bad and The Ugly is how *authentic* it feels. in the desert scenes, for example, the chapped lips and cracked skin and eyes pleading for water: that attention to detail and to veracity was rarely matched in Westerns of the time, or in films full stop. an unremitting and honest film-maker, definitely worthy of one of your lists | ramon.
11.26.19 | needless but funny writeup that id have no excuse to ever post anywhere else
https://thehardtimes.net/blog/10-years-later-kirasawas-yojimbo-holds-up-as-the-movie-i-mention-casually-to-seem-intelligent/
haven't got much to say about the list as i've only seen three of the films on this list (1, 2 and 4) but i do have to say your writing is pretty fucking good my man | Trifolium
11.26.19 | Wasn't Rashomon the Macbeth inspired one? I've tried watching that but didn't finish it. | tectactoe
11.26.19 | Hah, that article has some truth to it, though. Not sure nowadays how many ground-level plebs would even recognize the word "YOJIMBO" as a film. I've gotten to the point where I don't bother talking to my wife, mother, certain friends, etc., about movies because [1] there is little-to-no overlap in our Venn Diagram of interested related to films now, and/or [2] when attempting to explain why I loved a film they hated or hated a film they loved, I get met with stonewall rebukes of "you're just a pretentious twat" etc. etc.
Not familiar enough with MACBETH to know, honestly, but I believe RASHOMON was based on a short story of the same (or similar?) name. Whether *that* was based on MACBETH, I cannot say.
@Wines: Agree with everything you're saying. One of my favorite little details is how you can see Van Cleef's severed index finger when the edits start rifling through the holsters during the Mexican stand-off. Granted, that's his real finger, but it adds a strange meta-consciousness to the film, especially given his character i.e. "The Bad". Like damn, dude is missing part of a finger, he's probably seen some shit.
Also that glorious scene of operatic music while Blondie is getting tortured is *chef's kiss*, tonal juxtaposition at its finest. | Trifolium
11.26.19 | Oh I found the Kurosawa one I meant, it was Ran and it wasn't Macbeth but King Lear on which it was based. That movie was so difficult to watch. | Trifolium
11.26.19 | Plus how amazing is the
BLLOOOOOOOOONNDDIIIE!!!!!
YOU KNOW WHAT YOU AAAAAARRREEEE??!!!?!!!
joke at the end ā„ | tectactoe
11.26.19 | SON OF A-- AAH-EEE-AAH-EEE-AAAAAAAH | Trifolium
11.26.19 | Hahaha yeah that one. Very meta and very perfect. | Zig
11.26.19 | 4 is easily one of my favorite films. The music, slow-paced style, Claudia Cardinale, are just perfect.
Overall, nice list. | Trifolium
11.26.19 | Yeah that slow pace is perfect. It just unfolds, takes its time, you can take all the beauty in at will. Greatness. | Winesburgohio
11.27.19 | ahh just rewatched one and the pacing of the climax (and the cinematography, with the crosses and graves in the foreground) is just perfect. YOU DIG. definitely one of my favourite Westerns, second only to McCabe and Mrs. Miller
incidentally has anyone seen an homage called The Good, The Bad and The Weird? absolutely bonkers but really good and a worthy tribute | tectactoe
11.27.19 | yep, and that score is gonzo.
got about twenty minutes into Good/Bad/Weird sometime last year when it was on MUBI and never finished it before it left. wasnāt actively disliking it, but it seemed like one of those boffo korean films (a la OLDBOY) that i tend to be ambivalent toward. maybe i will give it another shot if Sir Wines deems it worthy though.... | Winesburgohio
11.27.19 | i mean i wouldn't shout its praises from the rooftops (i would shout your praises from the rooftops tho), and you have some Earl to watch so | Trifolium
11.27.19 | Nope, never seen it. Might give it a go after OUT America | tectactoe
11.27.19 | Just rewatched the mexican stand off on youtube and realized I misspoke above - it's Van Cleef's *middle* finger that is partially severed, not his index. (Guess that makes sense given the index finger is the trigger finger.)
Honestly shocked i could make such an egregious error having seen this film (and that scene) so many goddamn times. |
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