A Fistful of Dollars (1967)

Did you people see the same film I saw?

I saw this movie before reading any reviews, and I thought it was very funny. I was very surprised to see the overwhelmingly negative reviews this film received from critics.

The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Clint is in real good form. The story is real good, a lot of bang-bang. A must see.

The first in the trilogy is a little rough around the edges, especially in the dubbing department - thanks to the fact that no on-set sound was captured, so all the English audio had to be looped in for the US release almost three years after its original Italian theatrical run. There's no doubt 'A Fistful Of Dollars (1964)' is an amazing and stylish spaghetti western that stands out as a staple of the wider genre, though. There are times when the plot drags a little and it isn't told as neatly as it could be, but no other director can eek so much tension from people just staring at one another, and the final shootout is one of the best of its kind. When the score kicks in during the long moments before a quick-draw showdown, it's hard not to smile. 7/10

It's San Miguel, in Mexico. The town's got two bosses; neither likes the other. Both bosses lord over a clan of bad guys. The town is not moral; it's a town of death. Into this gloom rides Joe the stranger (Clint Eastwood). The stranger may or may not be a good guy. But he's a sharpshooter with a .45 pistol, and he uses it, a lot. He sizes up things in San Miguel and formulates a clever plan. This stranger is smart.Commonly referred to as the first spaghetti western, "A Fistful Of Dollars" evokes a new style: a script with grungy, mean characters; minimal dialogue; a hip protagonist vaguely similar to James Bond. Also, sets, costumes, and music are all highly stylized. I like the style.The script is engineered for maximum entertainment. There are action climax sequences about every ten minutes. Sounds of gunshots are heightened. We never learn anything about Eastwood's character, which makes him mysterious, indeed.Outdoor visuals were shot mostly in southern Spain. Cinematography makes use of long camera shots and extreme close-ups. Camera filters are poorly used in day for night shots. Production design is terrific. San Miguel looks pleasantly minimal with its whitewashed adobe dwellings and dirt streets.The look of the film and the script convey a sense of isolation, mystery, and death. There are references to Easter: a crucifixion, resurrection, a last supper. Though I have never been an Eastwood fan, and would have preferred another actor in his role, the multi-national cast perform their parts well.Aside from the casting of Eastwood, my main problem is the blurring of villains. With two evil gangs, it was hard to tell who was who, and which side each character was on. Overall, though, "A Fistful Of Dollars" is an entertaining western. I like its 1960s style much better than the stale, stereotypes of pre-1960 westerns. And that mournful, funereal dirge of Morricone's soundtrack adds enormously to the film's emotional tone.

The Western genre changed forever with the release of Sergio Leone's landmark Spaghetti Western "A Fistful of Dollars," but not necessarily for reasons you might think when it comes to a movie deemed a "classic."The story is weak, most of the acting bordering on comical and there's no depth to speak of, but the Akira Kurosawa-inspired style of "A Fistful of Dollars" makes it entertaining and a rather fascinating watch from a stylistic perspective. Leone did things with a camera that Hollywood hadn't seen before (probably … I admit I wasn't there), an approach that made the Western more entertaining yet more dramatic and tense.Clint Eastwood stars as Joe, or more popularly, "The Man with No Name," in the role that launched the "Rawhide" star's film career. When he comes upon the Mexican border town of San Miguel – where you either get rich or get killed – the anonymous gunslinger puts himself at the center of a bloody feud between the Baxters and the Rojos, playing them off of each other for his financial gain. The Man with No Name is essentially the Western's first true anti- hero. That's the primary contribution "Fistful of Dollars" makes to the genre – it pushes past the black-and-white cowboy heroes and wanted bandits dynamic. "Joe" has one character-revealing moment when he takes pity on a woman named Marisol (Marianne Koch) and her family, who are captives, in a sense, of the Rojo brothers. Otherwise, he's a troublemaker with money on his mind; we just like the guy because he's a badass who is less slimy than the rest of the characters.The script annoyingly drifts between too overt and not explicit enough, but eventually it becomes clear that the only dialogue worth paying attention to is the clever quips, and that it doesn't matter how a point of tension or violence is reached, but how it looks and feels when we get there.Leone isn't at the peak of his powers here by any stretch, which should be obvious given this was his first foray into Western territory and second film ever, but he gets enough right to open the door to a shift in thinking about how these movies are made. "Fistful" is an experimental playground for camera angles and various perspective shots. Cinematographers Massimo Dallamano and Federico Larraya play a lot with lighting, incidentally creating Eastwood's trademark squint. You might argue that Leone and crew stumbled upon greatness and that this movie is a combination of stumbles and sure-footed landings.The secret weapon is Ennio Morricone. The composer's score feels familiar to modern audiences, but it's his creativity using raw sounds and singular instruments in striking patterns that ultimately redefined the genre. He brings the tension, mystery and swagger to the film. He even recognizes when silence works better than anything he could write. In so many ways, his music really glues this experiment of a movie together.Movies that rise to the top in spite of their weaknesses by means of style and creativity are extremely rare, and they're usually an indicator of a film that's a game-changer to the art form. "A Fistful of Dollars" qualifies. It's a film that is much more important than it is great.~Steven CThanks for reading! Visit Movie Muse Reviews for more