Since the weather is finally getting warmer, it’s high time (and apparently high noon) to put a western on the movie-of-the-month column. In fact, to make it even more special, let’s go the full mile and put in a full trio, the so called Dollar Trilogy, undoubtedly Sergio Leone’s masterpiece. We are hence considering A Fistful of Dollars (1964 – which also marks its 60th anniversary), For a Few Dollars More (1965) and The Good, The Bad and the Ugly (1966). I will not go into detail explaining the plots; I will merely say that the first movie is about the actions of a good samaritan that stops the criminal exploits of some local thugs, the second one sees two bounty hunters dealing with dangerous criminals and the third one is one of the most iconic movies in its genre – period.
The movies themselves constitute a particular type of trilogy as what binds them together is the use of the same actors for different roles throughout: the ubiquitously present Clint Eastwood, Lee Van Cleef who starred in the second and third instalment, and other recurring appearances such as Gian Maria Volonté, Mario Brega and so on.
There is a certain cartoonish quality and zaniness to the Dollar Trilogy however; consider for instance some of the acoustic cues used to emphasize several moments and some minor interactions between the characters as well as some plot nuances that occasionally hint towards a more absurd dimension. I would argue that one might even find certain similarities to the Bud Spencer and Terence Hill movies that would come out in the following years.
Not only did Sergio Leone’s trilogy established the Spaghetti Western genre, but it also created various tropes that were then used throughout a plethora of movies and inspired the production of countless other works. While it is true that one of his favourite techniques and trademarks is an excessive use of close-ups, within the Dollar Trilogy they function to increase the suspense effect. I would argue however that a part of the success of the Dollar Trilogy, except for Sergio Leone’s craft, should be attributed to the fantastic effort of musician and composer Ennio Morricone. His pieces have given life and depth to many movies and this is certainly the case here. To make a case and point I would exemplify the use of The Ecstasy of Gold towards the end of The Good, The Bad and the Ugly. Within this scene, Tuco is running like a madman to be the first to find the grave where the gold use as a plot engine is hidden; in the background, as the tombstones and crosses move faster and faster as he is running, so does the choral part of the music pick up. The camera is still focused on Tuco, but everything around him continues to swivel faster and faster, thus representing a dimension of continuous movement and a stream of emotions. The use of this cinematographic technique, as well as the significance of the music (especially when considering the name of the piece and it’s correlation to the plot) becomes utterly an ecstatic experience for the viewer.
I would give these movies a global 7 out of 10 Mexican standoffs.