THE GOOD, THE BAD AND THE UGLY

"The Good, the Bad and the Ugly" defines an entire genre in a way that few films do. Those who make the mistake of thinking that the contemporarily cliché "spaghetti western" types cannot be elegantly crafted, truly artful films either haven't seen, or cannot appreciate this 1966 classic. But, for good reason, this films impact and place in the history of movies transcends the "Western" label. Yes, it is a Western, but it's also an Epic, an ambitious adventure, and a sprawling tale which has provided us with some of the most iconic characters, images, and sounds in the history of cinema.

Clint Eastwood, as Blondie, plays a gun-slinging, word sparing cowboy, tied in a tense partnership with Tuco, a desperate and reckless bandit portrayed by Eli Wallach. The two, constantly falling in and out of each other's favor, must collaborate in their hunt for a fortune of gold which has been buried in a distant cemetery. Eastwood and Wallach each deliver a performance which is essential to not only the film, but the Western genre as a whole. Their characters contrast each other perfectly, one is discreet and cautious, the other is rash and unmannerly. Challenging the two for the elusive stash of riches is the imposing Angel Eyes (Lee Van Cleef), who appears to be the collected, formidable, perfect opposition to the other characters. While each figure represents a sort of archetype within the Western genre, writer and director Sergio Leone makes one theme clear: greed has the power to fuel, motivate and override everything that we see these characters go through.

Leone is undoubtedly a stand-alone, pioneering figure in filmmaking. "The Good, the Bad and the Ugly" is largely defined by many of the distinctive, idiosyncratic decisions of its director. The wide shots of barren desert, up-close views of characters' grizzled stares, and unusually lengthy fixations on certain important moments, such as Tuco's feverish run through the prized cemetary, were largely unprecedented, and would feel peculiar in many other films. In this picture, these moments are endlessly fun. Take, for example, the films classic climactic showdown, in which the main characters stand in a circle, gazing at one another, ready to shoot the next man down at any sign of a dash for the treasure. Each man's life lies in the hands of the others. While its a long and unconventionally shot moment, it is perhaps one of the most effectively suspenseful scenes in movie history. The unpredictable jumbling of camera shots between each of the characters, combined with the legendary score of Ennio Morricone, combine for a truly edge-of-your-seat experience. It is a brilliant moment in filmmaking.

On the topic of score, this film's is one which cannot be simply glanced over. Rightfully and consistently ranked as one of the best ever, Morricone provides a composition which almost acts as a character itself. Even for those who have never seen "The Good, the Bad and the Ugly", the opening notes of the film's theme evoke images of cowboys, shootouts, and old-fashioned American revolvers. Like many aspects of this film, the score has become wholly representative of the Western genre.

For glaring evidence of the influence of "The Good, the Bad and the Ugly" and Sergio Leone, look no further than Quentin Tarantino's 2012 hit, "Django Unchained". A film lauded by critics and viewers alike, "Django" is one of my absolute favorites; it represents modern mastery of the largely dated "spaghetti western' subgenre. However, it is simply impossible to watch it without thinking that if it weren't for "The Good, the Bad, and the Ugly", there would certainly be no "Django Unchained". A film like this one makes it seem as if Sergio Leone was born to shake up the world of movies, and go against the norm in a way which revolutionized a beloved genre. Estimates hold that well over 1000 movies have been made about the old American West, and this film stands out, with all its brilliant unconventionalities, as one of the absolute best.

RATING 8.5/10