For a Few Dollars More (1965)
(Per qualche dollari in più)
Country: IT/GER/SP
Technical: Techniscope 130m
Director: Sergio Leone
Cast: Clint Eastwood, Lee Van Cleef, Gian Maria Volonté, Klaus Kinski
Synopsis:
The paths of two bounty hunters cross in El Paso, but one is out for vengeance more than for the money.
Review:
The second Eastwood-Leone outing brings in another American star, one more noted for playing baddies, and The Man with No Name sports the sobriquet Manco (to do with some unresolved bit of business concerning a leather gauntlet he wears). The character of the mercenary gunslinger this time aspires to a certain future, albeit somewhat more cynically bought, and Volonté's villain in turn is haunted by his past; the pace is more leisurely, the filmmaking a tad more self-conscious in its gags and fetishes; the opening reel is a model of the interlinking technique Leone would take further in The Good, The Bad... and Once Upon a Time... Prints suffered for a long time from the occasional lurch and a sudden music fade, owing to the then practice of inserting arbitrary intermissions in feature films; cuts were also made to the strong violence of some scenes. All in all it's a more assured effort, with imaginative use made of Almería's plentiful locations, an increased fetishism of weaponry, and a revigorated approach to scoring, with Morricone broadening his palette of folky effects.
(Per qualche dollari in più)
Country: IT/GER/SP
Technical: Techniscope 130m
Director: Sergio Leone
Cast: Clint Eastwood, Lee Van Cleef, Gian Maria Volonté, Klaus Kinski
Synopsis:
The paths of two bounty hunters cross in El Paso, but one is out for vengeance more than for the money.
Review:
The second Eastwood-Leone outing brings in another American star, one more noted for playing baddies, and The Man with No Name sports the sobriquet Manco (to do with some unresolved bit of business concerning a leather gauntlet he wears). The character of the mercenary gunslinger this time aspires to a certain future, albeit somewhat more cynically bought, and Volonté's villain in turn is haunted by his past; the pace is more leisurely, the filmmaking a tad more self-conscious in its gags and fetishes; the opening reel is a model of the interlinking technique Leone would take further in The Good, The Bad... and Once Upon a Time... Prints suffered for a long time from the occasional lurch and a sudden music fade, owing to the then practice of inserting arbitrary intermissions in feature films; cuts were also made to the strong violence of some scenes. All in all it's a more assured effort, with imaginative use made of Almería's plentiful locations, an increased fetishism of weaponry, and a revigorated approach to scoring, with Morricone broadening his palette of folky effects.
(Per qualche dollari in più)
Country: IT/GER/SP
Technical: Techniscope 130m
Director: Sergio Leone
Cast: Clint Eastwood, Lee Van Cleef, Gian Maria Volonté, Klaus Kinski
Synopsis:
The paths of two bounty hunters cross in El Paso, but one is out for vengeance more than for the money.
Review:
The second Eastwood-Leone outing brings in another American star, one more noted for playing baddies, and The Man with No Name sports the sobriquet Manco (to do with some unresolved bit of business concerning a leather gauntlet he wears). The character of the mercenary gunslinger this time aspires to a certain future, albeit somewhat more cynically bought, and Volonté's villain in turn is haunted by his past; the pace is more leisurely, the filmmaking a tad more self-conscious in its gags and fetishes; the opening reel is a model of the interlinking technique Leone would take further in The Good, The Bad... and Once Upon a Time... Prints suffered for a long time from the occasional lurch and a sudden music fade, owing to the then practice of inserting arbitrary intermissions in feature films; cuts were also made to the strong violence of some scenes. All in all it's a more assured effort, with imaginative use made of Almería's plentiful locations, an increased fetishism of weaponry, and a revigorated approach to scoring, with Morricone broadening his palette of folky effects.