The Good, the Bad and the Ugly

An absolute pinnacle of filmmaking. And probably one of the works that had the biggest influence on me early on in my film development. I remember back then being hypnotized by the overlong images, the minimalist dialogue, the stylistic mannerisms on the small TV at my parents' cottage. I for the most part didn't know much about what any scene was about until now, and it didn't matter at all. Even a few minutes after watching it, the film feels a bit like a dream. Leone wasn't just rewriting western canons, he was writing general formal laws of the genre that are still in use to this day. And not just in film, but in comics and video games as well. The work with character attributes (Eastwood's casual attitude compared to Wallach's neurotic approach, Tuco's signature custom gun), the purely superficial building of iconic shots (the gunslingers slowly disappearing into the dust after the explosion), the naturalistic cynicism ("Sorry Shorty. "), or, for example, the seemingly pointless battle sequence, which in its perfectionist handling of extras and set pieces faithfully recalls wartime illustrations of the American Civil War. Superficial Mannerist cinematography at its finest. Coppola's attention to detail, Tarkovsky's patience, a pulp story. Plus some purely music video passages, of which this is the leader, quite understandably. (10/07/2021)

Admittedly, in those nearly three hours, there were moments when my concentration wavered, but the music by the genius Ennio Morricone always quickly reeled me back in. Sergio Leone didn't hold back, adding something extra compared to the previous film. Alongside Clint Eastwood and Lee Van Cleef, I also got to see that notorious Calvera (at least that's who Eli Wallach will always be to me), but the movie also had a significantly better-crafted script. Despite the harsh realities of the Wild West, it included several unexpectedly touching scenes without pushing too hard. I've immensely enjoyed the film many times, and I'm certain I'll return to it again (unless failure of vital organs prevents me from doing so). / There are two lessons here, the first of which I shamelessly stole directly from the movie: "There are two kinds of people in this world, those with loaded guns and those who dig." And the second one: The film is another proof that smoking kills. (26/07/2023)

Leone's typically boundless western genius is imbued with a unique composition of shots, a phenomenal soundtrack and completely filigree work with dynamics and tension, which culminates in the final triple duel. The Good, the Bad and the Ugly has all the essential features of a spaghetti western, including the occasional drag and epic breadth that borders on madness. But this gold digger road movie also enchants through its slow pace, with the gourmet care through which it clings to detail, and the delicate mosaic. In my opinion, one of the best directed and set-to-music films of all time. A magical affair. (04/06/2007)

I don't know how Leone did it. 160 minutes, each of which could be individually extracted and inserted into a scholarly film encyclopedia explaining the importance of working with mise-en-scène and narrative with a minimum of dialogue, exclusively in symbiosis with the soundtrack, the setting and the characters, who can be expected to do anything and who know things that are supposed to remain hidden from the patient viewer for a long time. Brilliant, stunning perfectionist direction, maintaining sustained tension regardless of the current nature of the scene, thanks in large part to its cold-blooded approach to its "heroes", memorable interactions between the central trio, and of course Morricone's music, as legendary and atmospheric as the film itself. There's no need to dwell on the actors, because it's hard to find anything more iconic – Wallach in particular does something incredible. If you love film and try to read it, as they say, this one must be something of an idol for you. (18/04/2011)

An interesting story, straightforward and perfectly resolved. Morricene's catchy melody got under my skin again, Clint had charisma to spare in his younger days and Eli Wallach as the bad guy you actually root for is great. But it lacked something, something very little, to be perfect and I couldn't help comparing it to the brilliant Once Upon a Time in the West. The latter is a flawless five-star affair, this one has a few lapses in logic and especially a strange plot insert with armies fighting over a bridge, where Eastwood and Wallach went about as if they could not die. Otherwise, no complaints. (30/08/2004)