Western Retrospective: The Man with No Name Trilogy

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Hi, this is John Delancey and you are listening

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to the Geek Cast Radio Network. Hello and welcome

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to episode 239 of the Cinema Geeks. I am one

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of your Cinema Geeks Optimist Solo and joining

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me as usual is the Comic Concierge. Hello Dan.

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Hello. We are back at it again. Going deeper

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into our Western retrospective, you did hear

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a review of a modern movie too along the way,

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so we did take a quick break to talk about Project

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Hail Mary, but we are going to be back talking

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about more Western films now. So you’ve heard

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us cover a trilogy of John Wayne and John Ford

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films, and then today we’re going to go in a

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different direction here. So Dan, what are we

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starting and what are we talking about in today’s

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episode before we get to the facts? Yeah, so

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the way we’re doing a retrospective for Westerns

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is that we have like different blocks. We started

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with our John Ford block with Stagecoach, The

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Searchers, and The Man Who Shot Liberty Valance.

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And now we’re entering our Spaghetti Western

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block. And what better way to start that than

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the Man With No Name trilogy, the Dollars trilogy.

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I think it’s the only trilogy I know of that

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has multiple names, but whatever you want to

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call it. So we’re going to be talking about…

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each film uh today uh well and then we’re going

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to be talking about uh for after this we’re getting

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into django now django uh unchained and obviously

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the quentin tarantino but the original django

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which of course was also hugely influential and

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then we’ll come back and we’ll circle back with

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surgery sergio leone uh for one more time with

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uh once upon a time in the west to finish off

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the spaghetti western before we get into our

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next block which will be the remakes first the

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original and we’ll talk about some uh original

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and remake westerns so we’re just getting into

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spaghetti westerns and looking forward to seeing

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like how these differ compared to the john ford

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films we just talked about so dan what’s your

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experience with the it’s interesting because

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it’s a trilogy with two names but it’s about

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a man with no name so what’s what’s your experience

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uh with this trilogy So I’ve only seen the first

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film. So that was my only experience with it.

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I remember going back and like seeing, you know,

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watching, knowing obviously about the good, the

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bad and the ugly. And I went to go watch it.

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And I’m like, I don’t know. I feel like I need

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to watch the first one first. So I did that.

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And for whatever reason, I never went back to

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watch the original, the other two. I think they

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weren’t streaming or I forget, but whatever have

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you, what have you. this was the first time i

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was able to kind of go and go back and watch

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the first one for the first time in over a decade

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or so and then finally finish it off and the

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good the bad and the ugly has been like one of

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the biggest films on my uh list of shame as as

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it were you know because considering how you

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know it’s one of the most popular movie names

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of all time and stuff like that so happy to finally

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give the opportunity to watch it so that was

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very limited experience going into it and limited

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experience with spaghetti westerns in general

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i think it’s really the only one i’ve seen outside

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of the once upon a time in the west which we’ll

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get to obviously in a little bit as well so how

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about yourself is i believe this is the first

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time watch all all around for you right correct

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yeah i mean obviously i knew the good the bad

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and the ugly and you know i knew it was a thing

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and it was always kind of on my list of things

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to eventually watch but for whatever reason other

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stuff was just in the way or other stuff took

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priority or whatever the case may be so this

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was a good excuse for us doing this western uh

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one of the reasons for doing the western retrospective

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to get a chance to finally watch some of these

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westerns that have always been on my list but

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for some reason i’ve just never watched even

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though like i talked about in one of the other

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episodes i was always a huge fan of like westerns

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when it came to like tv westerns and things of

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that nature growing up but i just never had branched

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out into the the cinema version of Western, like

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classic Western. So I’ve seen a few modern ones,

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obviously, but I had never seen any of these

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at all. So it was the first time watch for me

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for all of them. And I think it’s going to be

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an interesting conversation. But before we get

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into the conversation, just how we’re going to

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do this, we’re going to talk about each one individually,

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and then we’ll come back at the end to kind of

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talk about the trilogy as a whole. So before

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we talk about the first one, which is titled.

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A fistful of dollars. Dan’s going to lay some

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background information for us and kind of set

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the stage. So, Dan, take it away. I hope you’re

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hungry as we enter the spaghetti western section

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of our western retrospective. First, taking a

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look at A Fistful of Dollars from 1964, directed

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by Sergio Leone, starring Clint Eastwood. In

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the film, a nameless drifter, played by Eastwood,

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rides into a dusty border town. torn apart by

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two rival families, the Rojo brothers and the

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Baxters, who are locked in a violent struggle

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for control. Seeing an opportunity, he cleverly

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plays both sides against each other, selling

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information and provoking conflict to profit

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from their mutual distrust. Despite his cynical

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approach, he reveals a streak of compassion by

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rescuing a captive woman and returning her to

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her family, an act that exposes his double dealing.

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Captured and brutally beaten by the Rojos, he

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narrowly survives and recovers in hiding while

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the Rojos wipe out the Baxors entirely. Returning

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for a final reckoning, the stranger confronts

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the remaining gang in a calculated showdown,

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killing their leader Raymond and dismantling

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the last grip of power that they have. both factions

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destroyed, he quietly leaves, restoring a fragile

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peace. It is an unofficial remake of Yojimbo

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by Akira Kurosawa. In fact, Kurosawa successfully

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sued the filmmakers and received a share of the

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profits. Sergio Leone did later acknowledge it

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was an inspiration for the movie. It had a very

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tight budget of $200 ,000, but was a major hit.

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making over $15 million worldwide. Its success

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helped launch the spaghetti western Boom, which

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were nicknames given to westerns made in Italy

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that were later dubbed over. They were grittier,

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more stylized, and morally ambiguous. This was

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a huge surprise hit. Many major actors were actually

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offered Eastwood’s role and turned it down. At

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this time, Eastwood was best known for his role

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on the TV show Rawhide. and this made him into

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a star. He even contributed heavily to the character’s

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iconic look. The poncho was his idea. He even

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wore the same outfit across the trilogy without

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washing it to keep up the worn look. Composer

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Ennio Morricone created a groundbreaking score

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using unusual sounds, whistling, gunshots, and

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electric guitar, which helped define what the

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spaghetti western style and sound looked like.

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He only wanted a more visual storytelling style,

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so the film relies heavily on Looks, pauses,

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and tensions, rather than long speeches, something

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that became a signature of his direction. When

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the film first premiered in Italy, it was a huge

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commercial success, and audiences loved it with

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its gritty tone and violence. cool anti -hero,

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it quickly gained popularity across Europe and

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helped kick off the spaghetti western boom. Critics,

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however, were mixed at first. Some found it overly

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violent and cheap. Others had issues with it,

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loosely borrowing from Yojimbo. Over time, its

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reputation has grown and many consider it one

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of the best westerns of all time. So where do

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Kevin and I stand? Are we in agreement with those

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early critics or do we find this has aged well?

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Back to Kevin and myself to discuss. All right.

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So now that we have all of that information and

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the table set, Dan, this is the one that you

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had seen before. How was it on a rewatch watching

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a fistful of dollars and kind of getting it back

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into the spaghetti Western motif? Yeah, so going

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back into this, I realized I remembered very

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little of this. And I think the reason I ended

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up watching this was actually because I saw Ujimbo,

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which this remake, of course, is famously a remake

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of Ujimbo Unauthorized, which is a whole other

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story we can maybe talk about. which is funny.

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But it’s interesting watching this after going

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into the John Ford films, and it’s going to be

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a weird comparison, but like many things in life,

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you can kind of compare it to professional wrestling,

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where John Ford is like the Federation years,

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the Hulk Hogan years, where you have John Wayne

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playing the very white hat. It’s very good guy,

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bad guy, for the most part. You can kind of tell

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who’s who. It’s simplified in that manner. Where

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now we’re kind of entering into the Attitude

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Era a little bit, right? Where characters are

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more in the gray. Heroes aren’t necessarily heroes.

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They’re more altruistic when it comes to their

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methods. You know, Clint Eastwood’s character

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here, he’s not necessarily out here to save the

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day or anything like that. He’s here to be motivated

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by money and sometimes cause chaos. Like, you

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know, he’s a little bit of a Stone Cold Steve

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Austin kind of guy. cause chaos and leave and

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watch everyone else kind of just go insane so

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it was interesting just you know seeing this

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genre evolve as as all genres do in that way

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but it just it just struck me as a very interesting

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comparison with professional much like we’re

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like the attitude era here um and of course like

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with the attitude era we have a lot of great

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music which we can certainly talk about as well.

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I do think it takes a little bit to settle in

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with this because, you know, this is Sergio Leone’s

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kind of, I think he’s kind of discovering film

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in some ways, where if you’re not used to the,

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like, dubbing, for example, it can be very awkward.

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You know, it’s like, it reminds you of, like,

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watching a bad Godzilla movie with how bad the

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language can match up. So it can seem a bit…

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odd in that way, but, and it’s very, I think,

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rough around the edges in that it’s dirty, it’s

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grimy, especially compared to, like, the Ford

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films, which are so kind of clean and pristine,

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this is not that in any way, so it’s very different,

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but I definitely still rather enjoyed it a good

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deal, it, there’s, I think, a lot, what I think

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I love about Leone in the way he makes his films,

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he has such a visual style. And I think it’s

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because like when he’s making his films, there

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is no sound, like everything, all sound is added

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later. So he’s all thinking, always thinking

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about the visuals. He loves his wide screens.

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He loves faces. He shoots faces like no other.

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And when you have someone like a Clint Eastwood

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who can grimace, like, you know, anyone can grimace.

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It makes a lot of sense, but you know, I generally

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enjoyed it. It’s like I said, it takes a little

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bit to get into the mold. of this world and kind

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of figure out what’s going on here. There are

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some elements where some of his schemes don’t

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seem all that ingenious, and I’m kind of wondering

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how they didn’t see through them. For example,

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there’s a scene where he puts these characters

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into a graveyard, and I’m trying to figure out

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how exactly was everyone so tricked by this,

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but what have you. Ultimately, I generally enjoyed

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it. I think the characters, even though they’re

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morally a little bit more complex. They’re still

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kind of cartoonish and very larger -than -life

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type of characters. But it’s certainly not my

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favorite in the trilogy. We’ll get to that as

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we go on. But I certainly enjoyed it. I’m curious,

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this being obviously your first time watching

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this, very different than the Ford films like

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I mentioned, but what was your overall enjoyment

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or experience like with this? Well, before I

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get to that, I can’t get past my… All of a

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sudden need that I didn’t know I had to like

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write a dissertation comparing this to professional

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wrestling now, because now I’m seeing it in like

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so many different levels and it’s just like all

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like making total sense. I would say that instead

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of the WWE side of the attitude era, though,

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I would probably say this is closer to the WCW

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NWO side of that because, yeah, because the NWO

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was supposedly. stole the New World Order from

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All Japan or New Japan. So Toho can play New

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Japan or All Japan and Kurosawa and we can steal

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their thing and then we made it our own. I definitely

00:12:37.799 –> 00:12:40.320
think Hogan works for the John Wayne comparison.

00:12:40.799 –> 00:12:43.179
John Wayne says like three lines in all of his

00:12:43.179 –> 00:12:45.529
movies. Hogan has like three moves in all of

00:12:45.529 –> 00:12:47.789
his matches. I think this works, Dan. We can

00:12:47.789 –> 00:12:51.090
do this like in a lot of different ways. I didn’t

00:12:51.090 –> 00:12:53.370
know I needed this, but I need it in my life

00:12:53.370 –> 00:12:56.049
now. So this was interesting, right? Like this

00:12:56.049 –> 00:12:59.070
is the introduction to the Spaghetti Westerns,

00:12:59.070 –> 00:13:04.750
to Sergio Leone and to this part of Clint Eastwood’s

00:13:04.750 –> 00:13:07.190
career. Like I’ve seen later Clint Eastwood stuff.

00:13:07.309 –> 00:13:09.610
I haven’t seen a lot of early Clint Eastwood

00:13:09.610 –> 00:13:11.690
stuff. So like this is an introduction on a lot

00:13:11.690 –> 00:13:14.220
of different levels. And I totally agree with

00:13:14.220 –> 00:13:16.559
a lot of what you’re saying. It is the grittier

00:13:16.559 –> 00:13:19.059
version of what we got before, right? It’s not

00:13:19.059 –> 00:13:22.200
going to be as clean. I do question sometimes…

00:13:22.200 –> 00:13:27.159
I know that this is known for kind of creating

00:13:27.159 –> 00:13:29.580
a different type of Western that is dirtier,

00:13:29.639 –> 00:13:32.200
that is more of the anti -hero, that is not the

00:13:32.200 –> 00:13:35.620
white hat, not the clean good guy, bad guy. I

00:13:35.620 –> 00:13:38.059
would say, though, I do see a lot of gray in

00:13:38.059 –> 00:13:39.799
a lot of John Wayne’s characters that we saw

00:13:39.799 –> 00:13:41.720
in those other three movies, though. Yeah, it’s

00:13:41.720 –> 00:13:45.179
a good point. I know he’s the good guy, but he’s

00:13:45.179 –> 00:13:49.559
a little bit in the middle. He’s not doing everything

00:13:49.559 –> 00:13:53.320
as a quote -unquote hero would. I’m not going

00:13:53.320 –> 00:13:55.639
to say he’s an anti -hero to the version of Clint

00:13:55.639 –> 00:14:00.059
Eastwood in these films, but I do see… an essence

00:14:00.059 –> 00:14:02.720
of an anti -hero that like could have been explored

00:14:02.720 –> 00:14:05.279
if if you wanted to in some of those John Wayne

00:14:05.279 –> 00:14:06.919
characters but I do think this takes it to a

00:14:06.919 –> 00:14:09.799
different level obviously um I do appreciate

00:14:09.799 –> 00:14:12.919
like the different style like obviously John

00:14:12.919 –> 00:14:15.559
Ford’s doing a lot more landscapes whereas Leone

00:14:15.559 –> 00:14:17.659
is doing a lot more you know like you said up

00:14:17.659 –> 00:14:22.980
close and um you know that the the face aspect

00:14:22.980 –> 00:14:26.580
of it with that as well as like he definitely

00:14:26.580 –> 00:14:33.509
loves his drawn out like duels or gunfights or

00:14:33.509 –> 00:14:36.629
whatever it might be and it’s like i don’t know

00:14:36.629 –> 00:14:38.389
what it reminds me of but it’s just like one

00:14:38.389 –> 00:14:41.889
of those things where like i feel like this is

00:14:41.889 –> 00:14:43.970
where cliffhangers came from even though i know

00:14:43.970 –> 00:14:46.230
cliffhangers existed before this but like like

00:14:46.230 –> 00:14:48.289
the tv version where it’s like you know like

00:14:48.289 –> 00:14:50.289
the award shows or the reality shows or different

00:14:50.289 –> 00:14:54.470
things where they’re like gonna announce a result

00:14:54.470 –> 00:14:56.389
and then they’re like oh right after the break

00:14:56.389 –> 00:14:58.409
like i feel like that’s like what we get with

00:14:58.409 –> 00:15:00.769
these like showdowns it’s like we’re gonna have

00:15:00.769 –> 00:15:02.590
a showdown but we’re gonna take a commercial

00:15:02.590 –> 00:15:04.309
break but instead of going to commercial we’re

00:15:04.309 –> 00:15:06.690
just gonna like keep panning to these two individuals

00:15:06.690 –> 00:15:09.309
and let the music do all the work for us so that’s

00:15:09.309 –> 00:15:11.929
definitely something that we saw more in these

00:15:11.929 –> 00:15:14.470
films than we we did in the john ford film so

00:15:14.470 –> 00:15:19.850
like i get that i do think it does take some

00:15:19.850 –> 00:15:22.269
getting used to with the dubbing and that type

00:15:22.269 –> 00:15:25.129
of thing like absolutely and i don’t think i

00:15:25.129 –> 00:15:30.049
think some younger audiences or more modern day

00:15:30.049 –> 00:15:33.389
folks would have a problem with that like it

00:15:33.389 –> 00:15:37.710
may be a barrier to entry for them um unless

00:15:37.710 –> 00:15:41.110
they grew up like watching a lot of anime and

00:15:41.110 –> 00:15:42.490
things of that nature where they’re just used

00:15:42.490 –> 00:15:44.710
to all the dubbing and stuff like that but the

00:15:44.710 –> 00:15:49.009
the dubbing in this one in particular is for

00:15:49.009 –> 00:15:53.179
some reason worse than the other two um like

00:15:53.179 –> 00:15:56.039
i it’s weird because these films i know we’re

00:15:56.039 –> 00:15:57.620
not talking about all of them together they’re

00:15:57.620 –> 00:16:00.879
made in different years but they’re all released

00:16:00.879 –> 00:16:03.139
in the same year which has that ever happened

00:16:03.139 –> 00:16:06.759
have we ever had like a trilogy that were made

00:16:06.759 –> 00:16:09.240
separately but then the studios released them

00:16:09.240 –> 00:16:11.899
in the united states like back to back to back

00:16:11.899 –> 00:16:14.059
is that what happened with these i i think that’s

00:16:14.059 –> 00:16:19.250
what i read yeah well um released in u .s around

00:16:19.250 –> 00:16:20.730
the same time the only one i could think of was

00:16:20.730 –> 00:16:23.250
be also the three colors trilogy that happened

00:16:23.250 –> 00:16:26.570
in 1994 where they were they were made in separate

00:16:26.570 –> 00:16:29.409
years but they were they all um that was the

00:16:29.409 –> 00:16:34.490
blue white red um they all were released three

00:16:34.490 –> 00:16:36.149
separate years but when they came over to the

00:16:36.149 –> 00:16:38.990
u .s they all kind of came over the u .s and

00:16:38.990 –> 00:16:43.470
in 1994 is like in within that year so the only

00:16:43.470 –> 00:16:45.049
reason i know that is because i was watching

00:16:45.049 –> 00:16:49.529
old episodes of movies with um roger ebert and

00:16:49.529 –> 00:16:54.230
uh um ebert and uh why am i getting and they’re

00:16:54.230 –> 00:16:55.929
doing their favorite you know movies of the year

00:16:55.929 –> 00:16:59.289
and ebert’s was the three colors trilogy and

00:16:59.289 –> 00:17:01.009
he’s like i’m cheating but they all came out

00:17:01.009 –> 00:17:03.629
this year so that’s the reason i knew that uh

00:17:03.629 –> 00:17:06.190
because they all came out that year so but those

00:17:06.190 –> 00:17:07.930
all came out separate years because they like

00:17:07.930 –> 00:17:12.890
won the they won um three colors blue won the

00:17:12.890 –> 00:17:15.210
palm door two colors white won the palm door

00:17:15.210 –> 00:17:16.750
and people thought it was going to be like a

00:17:16.750 –> 00:17:20.589
three -year sweep but then fiction won it the

00:17:20.589 –> 00:17:23.450
in 1994 so like it stopped it from happening

00:17:23.450 –> 00:17:25.869
but then when they came over to the u .s so it’s

00:17:25.869 –> 00:17:27.349
probably the only one else i can think of that

00:17:27.349 –> 00:17:29.369
was similar where they technically were made

00:17:29.369 –> 00:17:31.710
different years but came over to the united states

00:17:31.710 –> 00:17:34.410
altogether like in like different months right

00:17:34.410 –> 00:17:39.369
it makes it hard to like place the the difference

00:17:39.369 –> 00:17:42.099
in when they’re made I guess because they’re

00:17:42.099 –> 00:17:43.960
all released at the same time and I have to go

00:17:43.960 –> 00:17:46.279
back into finding how much time… I didn’t do

00:17:46.279 –> 00:17:49.059
the research to figure out the difference between

00:17:49.059 –> 00:17:50.940
when they were actually made and filmed or why

00:17:50.940 –> 00:17:53.220
it seems like there’s such a difference in the

00:17:53.220 –> 00:17:56.420
dubbing from this one to the other two. Or maybe

00:17:56.420 –> 00:17:58.400
I just got used to it. Maybe I was just used

00:17:58.400 –> 00:17:59.960
to it by the second and the third one, but I

00:17:59.960 –> 00:18:01.440
just felt like they were doing a better job of

00:18:01.440 –> 00:18:04.589
it in those other ones. i don’t know like the

00:18:04.589 –> 00:18:07.130
behind the scenes part of that but that was definitely

00:18:07.130 –> 00:18:09.569
something that in during this specific one a

00:18:09.569 –> 00:18:12.589
fistful of dollars was was very noticeable and

00:18:12.589 –> 00:18:15.450
it didn’t necessarily ruin the film for me or

00:18:15.450 –> 00:18:18.069
anything like that but it was like uh oh i gotta

00:18:18.069 –> 00:18:20.829
get used to this like in a different way like

00:18:20.829 –> 00:18:23.490
even i know john ford’s films like that it takes

00:18:23.490 –> 00:18:25.349
some getting used to some of that too right like

00:18:25.349 –> 00:18:27.250
the first film we watched that they’re like hooting

00:18:27.250 –> 00:18:29.480
and hollering at these horses like nobody’s business

00:18:29.480 –> 00:18:31.700
and they’re they’re shooting without aiming and

00:18:31.700 –> 00:18:33.339
and you know all of that type of stuff where

00:18:33.339 –> 00:18:34.660
it’s like oh i just got to get used to that and

00:18:34.660 –> 00:18:37.740
like this set of films takes a different type

00:18:37.740 –> 00:18:40.359
of getting used to like it’s just yeah for someone

00:18:40.359 –> 00:18:42.960
that’s not exposed to it i guess but i felt like

00:18:42.960 –> 00:18:47.599
there was some issues with laying the foundation

00:18:47.599 –> 00:18:50.700
for this story and for the character motivations

00:18:50.700 –> 00:18:54.920
in this film a little bit where i feel like we

00:18:54.920 –> 00:18:58.380
just kind of jump in and you’re not totally understanding

00:18:58.380 –> 00:19:01.200
why everybody, especially Clint Eastwood’s character,

00:19:01.400 –> 00:19:04.480
what is the purpose, why is he doing what he’s

00:19:04.480 –> 00:19:07.420
doing, and kind of that type of thing, where

00:19:07.420 –> 00:19:09.500
I think once you’ve seen all of the films, that

00:19:09.500 –> 00:19:13.240
becomes more evident, and it gets into a conversation

00:19:13.240 –> 00:19:15.039
we can have at the end, but I just felt like

00:19:15.039 –> 00:19:17.539
if you’re just watching this as a standalone

00:19:17.539 –> 00:19:21.420
film, I feel like there are some issues with

00:19:21.420 –> 00:19:23.880
the film not doing a good enough job of setting

00:19:23.880 –> 00:19:26.680
the stage or laying the foundation for… some

00:19:26.680 –> 00:19:29.279
of the character motivations um so i did find

00:19:29.279 –> 00:19:32.960
that to be a little bit um something i struggled

00:19:32.960 –> 00:19:35.880
with towards the first half of this film i do

00:19:35.880 –> 00:19:41.380
appreciate the uh the performances and the characters

00:19:41.380 –> 00:19:44.500
and and things of that nature like the the biggest

00:19:44.500 –> 00:19:46.859
standout for me from this film was the music

00:19:46.859 –> 00:19:49.420
and that is not that is not something that i

00:19:49.420 –> 00:19:52.859
usually say like typically I mean, I grew up

00:19:52.859 –> 00:19:55.319
with music, right? Like, I was in band and in

00:19:55.319 –> 00:19:57.519
choir and doing all the things. Like, I was involved

00:19:57.519 –> 00:19:59.819
with music for, like, my entire childhood and,

00:19:59.819 –> 00:20:03.799
you know, teenage years. And I’m not anti -music,

00:20:03.859 –> 00:20:05.920
but for some reason when it comes to film, like,

00:20:05.920 –> 00:20:08.339
it’s the last thing I notice typically. Like,

00:20:08.380 –> 00:20:10.500
I’m just way more paying attention, I guess,

00:20:10.519 –> 00:20:13.220
to the dialogue and the performances and things

00:20:13.220 –> 00:20:15.279
of that nature where I usually only notice music

00:20:15.279 –> 00:20:17.859
if it’s, like, exceptionally bad and taking me

00:20:17.859 –> 00:20:20.099
out of the film or in, like, this case where

00:20:20.099 –> 00:20:23.609
it’s just, like, so good. And like this to me

00:20:23.609 –> 00:20:27.930
was like all of the sounds that you hear in every

00:20:27.930 –> 00:20:30.869
Western that has come since I feel like is, is

00:20:30.869 –> 00:20:35.210
taking some type of cue from this film or these,

00:20:35.230 –> 00:20:37.569
this trilogy. Like, it’s just like all of the

00:20:37.569 –> 00:20:39.569
classic Western sounds. I’m like, Oh, that’s

00:20:39.569 –> 00:20:41.170
where this came from. Oh, that’s where that came

00:20:41.170 –> 00:20:43.650
from. Like, it’s all right here. So like the

00:20:43.650 –> 00:20:48.349
music alone makes this film. influential on that

00:20:48.349 –> 00:20:49.990
stage and then i think you know like we talked

00:20:49.990 –> 00:20:52.529
about there is other influential uh aspects of

00:20:52.529 –> 00:20:55.009
it that come from the the anti -hero and the

00:20:55.009 –> 00:20:56.450
things of that nature and some of the way that

00:20:56.450 –> 00:20:59.109
it’s shot i just think as a movie itself if i’m

00:20:59.109 –> 00:21:02.589
just judging it by itself as a standalone i probably

00:21:02.589 –> 00:21:04.670
have more issues with this one than what we’ll

00:21:04.670 –> 00:21:06.829
talk about you know in the in the next two films

00:21:06.829 –> 00:21:09.930
that we talk about but um i don’t know what are

00:21:09.930 –> 00:21:12.680
your thoughts on any of that dan Yeah, I guess

00:21:12.680 –> 00:21:14.819
I didn’t have that. I think the issue maybe with

00:21:14.819 –> 00:21:18.779
his motivations is that they’re very minor in

00:21:18.779 –> 00:21:20.839
the sense that they’re very simple. They’re literally,

00:21:21.079 –> 00:21:26.440
seems to be mostly just money in that way. But

00:21:26.440 –> 00:21:28.420
I could see the sense of why he’s going through

00:21:28.420 –> 00:21:32.619
all this, or what his ultimate goal is. It isn’t

00:21:32.619 –> 00:21:39.099
as spelled out. What is he trying to achieve?

00:21:40.359 –> 00:21:44.700
isn’t necessarily super clear and then perhaps

00:21:44.700 –> 00:21:48.460
it’s the desire to just like I said to hopefully

00:21:48.460 –> 00:21:51.160
benefit himself and then when you know he ends

00:21:51.160 –> 00:21:53.720
up being caught and dealing with that and if

00:21:53.720 –> 00:21:57.220
it you know changes into the idea of revenge

00:21:57.220 –> 00:22:00.019
but I do fully agree like when it comes to recording

00:22:00.019 –> 00:22:03.450
score it’s it is so you know Purposely like it’s

00:22:03.450 –> 00:22:05.890
it brings us to another level. It’s akin to like

00:22:05.890 –> 00:22:09.369
what John Williams score does to Star Wars It’s

00:22:09.369 –> 00:22:11.869
like, you know without that who knows if Star

00:22:11.869 –> 00:22:15.029
Wars is what it is Without that score is this

00:22:15.029 –> 00:22:18.069
movie is you know, does it make it? The movie

00:22:18.069 –> 00:22:23.049
it is maybe not like even you know Giro the only

00:22:23.049 –> 00:22:25.589
mention that like he would keeps scenes going

00:22:25.589 –> 00:22:27.609
on longer simply because he loved the score so

00:22:27.609 –> 00:22:30.710
much so a lot of the pacing a lot of the way

00:22:30.710 –> 00:22:33.690
things play out like the slower you know the

00:22:33.690 –> 00:22:36.690
uh the the way he would just like allow scenes

00:22:36.690 –> 00:22:40.549
to kind of go on all all because of that score

00:22:40.549 –> 00:22:44.569
um but i do agree in the sense of it’s like i

00:22:44.569 –> 00:22:46.230
mentioned it does feel like he’s kind of finding

00:22:46.230 –> 00:22:50.869
his way in a lot of way like i it’s interesting

00:22:50.869 –> 00:22:54.059
because you know uh eastwood doesn’t speak english

00:22:54.059 –> 00:22:56.960
he doesn’t speak uh and or sorry eastwood doesn’t

00:22:56.960 –> 00:23:00.539
speak italian uh caesar leone doesn’t speak any

00:23:00.539 –> 00:23:02.759
english so like they’re all communicating through

00:23:02.759 –> 00:23:06.500
like interpreters and i and i wondered if like

00:23:06.500 –> 00:23:08.779
how much that impacts like what you’re doing

00:23:08.779 –> 00:23:11.920
is i think it happens it had had to be very simplified

00:23:11.920 –> 00:23:15.579
in that manner um but i think what’s on screen

00:23:15.579 –> 00:23:17.279
i think the visual language is what makes it

00:23:17.279 –> 00:23:21.289
work and where it excels the most and even like

00:23:21.289 –> 00:23:25.950
how it works against a lot of the tropes of the

00:23:25.950 –> 00:23:28.289
time or even just the techniques of the time

00:23:28.289 –> 00:23:31.589
without even maybe doing it purposely like breaking

00:23:31.589 –> 00:23:34.410
code without realizing it even more so with the

00:23:34.410 –> 00:23:37.170
next film but like you know you would never be

00:23:37.170 –> 00:23:42.299
able to show the the hero shooting his gun like

00:23:42.299 –> 00:23:43.920
you get a lot of shots like the first time we

00:23:43.920 –> 00:23:47.980
see cleat is cleat well cleat eastwood use his

00:23:47.980 –> 00:23:51.059
gun it’s from that side shot and he’s like mowing

00:23:51.059 –> 00:23:54.259
them down really really one by one and that’s

00:23:54.259 –> 00:23:55.759
not necessarily something you would ever see

00:23:55.759 –> 00:23:58.220
like usually when you saw john wayne shoot you’d

00:23:58.220 –> 00:24:01.240
see him shoot the gun and then it would cut and

00:24:01.240 –> 00:24:02.960
then you would see the impact he wouldn’t technically

00:24:02.960 –> 00:24:06.359
see it all happen so it was like those types

00:24:06.359 –> 00:24:10.529
of things that really helped push the genre forward

00:24:10.529 –> 00:24:13.210
and like change things and i don’t it wasn’t

00:24:13.210 –> 00:24:15.309
even clear if it was necessarily a conscious

00:24:15.309 –> 00:24:17.890
choice in the sense of he was doing things that

00:24:17.890 –> 00:24:20.369
weren’t necessarily allowed because you know

00:24:20.369 –> 00:24:23.369
the they didn’t have the haze code um with this

00:24:23.369 –> 00:24:26.349
being made and you know outside the country but

00:24:26.349 –> 00:24:29.990
i think that freedom certainly helped right and

00:24:29.990 –> 00:24:32.529
and also just like something we didn’t talk about

00:24:32.529 –> 00:24:35.829
but within this whole trilogy As I’m watching

00:24:35.829 –> 00:24:38.549
this, I’m like, what do these sets look like?

00:24:38.630 –> 00:24:40.410
Because obviously they’re making these out in

00:24:40.410 –> 00:24:45.809
probably the desert. And these towns that they’re

00:24:45.809 –> 00:24:48.950
building, that I found rather impressive. This

00:24:48.950 –> 00:24:52.349
town in this one, though, it looks depraved in

00:24:52.349 –> 00:24:58.849
who wants to live there type of thing. One question,

00:24:59.130 –> 00:25:00.549
though, I mentioned going into this, there was

00:25:00.549 –> 00:25:03.049
going to be a reference that even though you

00:25:03.049 –> 00:25:04.809
hadn’t seen it, you’re probably going to recognize

00:25:04.809 –> 00:25:06.910
it considering you’ve seen Back to the Future.

00:25:07.230 –> 00:25:10.390
I’m guessing when that moment happened, you remembered

00:25:10.390 –> 00:25:16.549
it. Oh, I must not have because I might have

00:25:16.549 –> 00:25:19.009
been just like fully immersed to try to figure

00:25:19.009 –> 00:25:22.970
out like what was going on and whatnot. With

00:25:22.970 –> 00:25:27.329
the Back to the Future 3, do you know when he

00:25:27.329 –> 00:25:29.589
puts the… Oh, that’s my least favorite Back

00:25:29.589 –> 00:25:33.809
to the Future movie. That’s probably why. Well,

00:25:33.809 –> 00:25:36.670
yeah. In Back to the Future 3, he uses the same

00:25:36.670 –> 00:25:39.829
thing in this, where he puts the metal under

00:25:39.829 –> 00:25:45.009
the cloak. I was trying to think of the… I

00:25:45.009 –> 00:25:46.430
was trying to make more wrestling references

00:25:46.430 –> 00:25:49.539
to… I think Bret Hart at one point put a metal

00:25:49.539 –> 00:25:54.940
piece under his shirt. For Goldberg, yeah. Now

00:25:54.940 –> 00:25:56.500
I know what you’re talking about, though. Yeah,

00:25:56.519 –> 00:26:00.140
totally get it. And I think the other thing that

00:26:00.140 –> 00:26:01.759
makes us more like professional wrestling in

00:26:01.759 –> 00:26:05.440
the Attitude Era or the NWO is that’s when they

00:26:05.440 –> 00:26:07.619
showed more blood in wrestling, it felt like,

00:26:07.640 –> 00:26:10.240
and they got a little bit more violent, maybe

00:26:10.240 –> 00:26:12.940
ECW style, and they definitely do that. The amount

00:26:12.940 –> 00:26:16.240
of shots that they’re showing torture. and and

00:26:16.240 –> 00:26:19.299
things of that nature within this trilogy is

00:26:19.299 –> 00:26:22.299
something that i felt like you we didn’t get

00:26:22.299 –> 00:26:25.440
any of that in the other ones um the earlier

00:26:25.440 –> 00:26:29.680
western films for sure definitely no when no

00:26:29.680 –> 00:26:32.960
no one dying and then like opening their eyes

00:26:32.960 –> 00:26:36.099
and then closing them or anything like that but

00:26:36.099 –> 00:26:38.140
yeah i think when it came to just to clarify

00:26:38.140 –> 00:26:41.319
like i i understand eastwood’s motivations once

00:26:41.319 –> 00:26:45.069
he’s involved in the story like once he’s there

00:26:45.069 –> 00:26:48.190
and he’s playing the two sides off of each other

00:26:48.190 –> 00:26:50.910
like that all i’m fine with i think my problem

00:26:50.910 –> 00:26:53.769
is really just more with like the very very beginning

00:26:53.769 –> 00:26:56.650
of the film because it’s like i don’t know why

00:26:56.650 –> 00:27:01.589
he’s at this town i don’t know why what motivation

00:27:01.589 –> 00:27:04.170
he has for being there and why he decides to

00:27:04.170 –> 00:27:06.549
get involved i guess that was where i was confused

00:27:06.549 –> 00:27:09.630
whereas if i had seen the other films like it

00:27:09.630 –> 00:27:11.190
kind of goes to a question that i would ask at

00:27:11.190 –> 00:27:14.049
the end If you watch these in a different order,

00:27:14.150 –> 00:27:18.210
I think this one works better. Because I think

00:27:18.210 –> 00:27:20.210
it’s more established in the other films who

00:27:20.210 –> 00:27:23.269
Clint Eastwood is and what his motivations are.

00:27:23.630 –> 00:27:26.069
Where I wouldn’t have that hiccup at the beginning

00:27:26.069 –> 00:27:29.509
of this film being like, what is the purpose

00:27:29.509 –> 00:27:31.750
and why on God’s green earth is he going to stick

00:27:31.750 –> 00:27:34.289
around? Once he’s involved in the story, I get

00:27:34.289 –> 00:27:35.710
all of his motivations from that standpoint.

00:27:35.730 –> 00:27:37.630
It was just more the introduction of his character

00:27:37.630 –> 00:27:39.509
where I was like, I don’t know. I get part of

00:27:39.509 –> 00:27:41.920
it’s mysterious. Part of it, he’s like this unnamed

00:27:41.920 –> 00:27:46.339
nomad or stranger. But at the same time, if I’m

00:27:46.339 –> 00:27:48.960
trying to be able to relate from the human side,

00:27:49.119 –> 00:27:52.640
I’m like, what compelling interest does he have

00:27:52.640 –> 00:27:55.220
in stopping at this town and then deciding to

00:27:55.220 –> 00:27:59.220
stay before he kind of gets more involved, I

00:27:59.220 –> 00:28:01.640
guess. It was kind of where I was. Where I think

00:28:01.640 –> 00:28:08.660
if they just introduced him as a… I just lost

00:28:08.660 –> 00:28:11.220
my whole train of thought. like a mercenary or

00:28:11.220 –> 00:28:12.940
a bounty hunter like if they just introduced

00:28:12.940 –> 00:28:15.160
him somehow like they do in the other films I

00:28:15.160 –> 00:28:17.880
feel like it becomes much more smooth of a transition

00:28:17.880 –> 00:28:20.160
and I would have totally understood it but like

00:28:20.160 –> 00:28:23.859
it’s like we’re picking up without that setup

00:28:23.859 –> 00:28:27.980
whereas they set that up in the both the second

00:28:27.980 –> 00:28:30.640
and the third film we get more of that right

00:28:30.640 –> 00:28:32.940
like the third film we have the back and forth

00:28:32.940 –> 00:28:37.599
where he’s running the the the trick with having

00:28:37.599 –> 00:28:39.640
the guy strung up and getting the money and shooting

00:28:39.640 –> 00:28:41.960
him down like we see that he’s kind of doing

00:28:41.960 –> 00:28:44.380
this all for money in the second film they’re

00:28:44.380 –> 00:28:46.559
totally introducing multiple characters as bounty

00:28:46.559 –> 00:28:48.980
hunters in this film they don’t do any of that

00:28:48.980 –> 00:28:51.319
at the beginning so i was lost for like the first

00:28:51.319 –> 00:28:56.119
20 minutes trying to figure out like how did

00:28:56.119 –> 00:28:59.920
we get here i guess was my issue okay yeah and

00:28:59.920 –> 00:29:02.180
i guess the way i took it was more so like it

00:29:02.569 –> 00:29:05.349
certainly was a mystery but i was more it felt

00:29:05.349 –> 00:29:08.230
like that was who the character was and it seemed

00:29:08.230 –> 00:29:10.950
like it just was like okay clearly this is the

00:29:10.950 –> 00:29:13.970
guy who this is his life he goes into a situation

00:29:13.970 –> 00:29:18.549
and he seems how can i make this how can i take

00:29:18.549 –> 00:29:20.650
advantage of the situation i’m going into and

00:29:20.650 –> 00:29:23.190
going from there and i think it probably helps

00:29:23.190 –> 00:29:26.069
having the context of yojimbo as well and perhaps

00:29:26.069 –> 00:29:29.190
and that might have given me a better understanding

00:29:29.190 –> 00:29:31.349
because i know where that story is coming from

00:29:31.349 –> 00:29:35.440
and Which is a… Like, Dan, if you find yourself

00:29:35.440 –> 00:29:39.819
in a strange Mexican city or a Spanish city,

00:29:39.940 –> 00:29:44.460
and there’s two gangster families that are feuding,

00:29:44.559 –> 00:29:48.980
are you sticking around? Probably no to all of

00:29:48.980 –> 00:29:52.720
that, personally. But, yeah. That’s where I was

00:29:52.720 –> 00:29:55.119
like, I don’t… Maybe it’s just me looking it

00:29:55.119 –> 00:29:57.700
through modern eyes, I guess. I was like, okay,

00:29:57.779 –> 00:30:00.319
I get you’re the cool dude, but it wasn’t introduced

00:30:00.319 –> 00:30:01.900
in the beginning that he’s doing it for money.

00:30:02.480 –> 00:30:06.160
or that he’s doing it for i get like you have

00:30:06.160 –> 00:30:07.759
a slight motivation because you see the little

00:30:07.759 –> 00:30:09.700
kid or something of that and you’re like oh that’s

00:30:09.700 –> 00:30:13.440
wrong but is that enough to be like okay now

00:30:13.440 –> 00:30:15.059
i’m gonna put my life on the line for this and

00:30:15.059 –> 00:30:17.259
like to try to restructure this whole town which

00:30:17.259 –> 00:30:19.259
is probably going to end in like the entire town

00:30:19.259 –> 00:30:22.279
being slaughtered in a ghost town like i don’t

00:30:22.279 –> 00:30:23.819
like i you know what i mean like it’s like oh

00:30:23.819 –> 00:30:25.599
i don’t i don’t know if i went from step a to

00:30:25.599 –> 00:30:28.859
step b as fast as the movie was going um was

00:30:28.859 –> 00:30:31.519
my issue for this one but what are any other

00:30:31.519 –> 00:30:35.059
thoughts you have for this first chapter um no

00:30:35.059 –> 00:30:37.720
i don’t think i don’t really have anything else

00:30:37.720 –> 00:30:39.180
to say i think we can kind of save it for the

00:30:39.180 –> 00:30:42.220
next film so you want to get into for a few dollars

00:30:42.220 –> 00:30:45.099
more yeah absolutely let’s let you uh set the

00:30:45.099 –> 00:30:47.059
stage for us for for a few dollars more and then

00:30:47.059 –> 00:30:49.619
we’ll get into our thoughts after uh the first

00:30:49.619 –> 00:30:52.490
time watch for both of us And another one. And

00:30:52.490 –> 00:30:54.730
for a few dollars more, the iconic stranger,

00:30:54.990 –> 00:30:56.890
the man with no name, played by Clint Eastwood,

00:30:57.009 –> 00:30:59.549
crosses paths with the ruthless and methodical

00:30:59.549 –> 00:31:02.029
bounty hunter, Colonel Mortimer, played by Lee

00:31:02.029 –> 00:31:05.670
Van Cleef, as both pursue the same target. The

00:31:05.670 –> 00:31:08.509
sadistic outlaw, El Indio. Initially, they’re

00:31:08.509 –> 00:31:10.869
rivals. The two men form in an easy partnership

00:31:10.869 –> 00:31:13.829
to track down his gang, infiltrating their ranks

00:31:13.829 –> 00:31:16.109
and waiting for the right moment to strike. As

00:31:16.109 –> 00:31:18.470
the story unfolds, it becomes clear Mortimer

00:31:18.470 –> 00:31:21.630
has a personal vendetta. Indio was responsible

00:31:21.630 –> 00:31:24.190
for the death of his sister, and a haunting pocket

00:31:24.190 –> 00:31:26.910
watch, Melody, ties directly to that trauma.

00:31:27.210 –> 00:31:30.109
The plan culminates in a tense, drawn -out showdown,

00:31:30.210 –> 00:31:32.750
where Mortimer finally confronts Indio in a duel

00:31:32.750 –> 00:31:36.150
shaped by revenge. man with no name ensures the

00:31:36.150 –> 00:31:39.049
gang is eliminated. After collecting the bounties,

00:31:39.089 –> 00:31:41.589
the two men part ways. The temporary alliance

00:31:41.589 –> 00:31:44.410
dissolved once justice, personal and financial,

00:31:44.630 –> 00:31:47.410
has been served. For this, Van Cleef mostly played

00:31:47.410 –> 00:31:49.470
minor villain roles in Hollywood. His performance

00:31:49.470 –> 00:31:52.269
as Colonel Mortimer turned him into a major international

00:31:52.269 –> 00:31:55.569
star and a defining face of the spaghetti westerns.

00:31:55.589 –> 00:31:57.609
He was not the first choice for the role, however.

00:31:57.869 –> 00:32:00.710
Henry Fonder, Charles Bronson, Lee Marvin were

00:32:00.710 –> 00:32:03.589
offered the role but turned it down. Macho, the

00:32:03.589 –> 00:32:06.119
name of Clint Eastwood’s character is officially

00:32:06.119 –> 00:32:09.059
not the same character as Joe in Fistful of Dollars.

00:32:09.160 –> 00:32:12.480
This was a finding of an Italian court that adjudicated

00:32:12.480 –> 00:32:15.059
the lawsuit brought by Jolly Films, a producer

00:32:15.059 –> 00:32:17.240
of A Fistful of Dollars. After the release of

00:32:17.240 –> 00:32:19.579
that film, writer -director Sergio Leone had

00:32:19.579 –> 00:32:21.759
a falling out with the producers and made this

00:32:21.759 –> 00:32:24.299
movie with a different one. Jolly Films sued,

00:32:24.420 –> 00:32:27.049
claiming ownership of the Joe character. But

00:32:27.049 –> 00:32:29.269
lost when the court decided that the Western’s

00:32:29.269 –> 00:32:31.849
gunfighter persona, characterized by the costume

00:32:31.849 –> 00:32:34.849
and mannerisms, belonged to the public domain’s

00:32:34.849 –> 00:32:38.009
folklore. Writer and director Sergio Leone broke

00:32:38.009 –> 00:32:41.170
from many 1960 Hollywood rules with this movie,

00:32:41.289 –> 00:32:43.769
although he did not know them at the time, amongst

00:32:43.769 –> 00:32:45.930
them showing the shooter and the victim in the

00:32:45.930 –> 00:32:48.890
same shot, a horse being gunned down, marijuana

00:32:48.890 –> 00:32:53.269
use, and a scene of sexual assault. When it was

00:32:53.269 –> 00:32:55.250
released in Europe, For a Few Dollars More was

00:32:55.250 –> 00:32:58.069
a major commercial hit and generally better received

00:32:58.069 –> 00:33:00.630
than A Fistful of Dollars by fans and critics.

00:33:00.930 –> 00:33:04.190
But where do Kevin and I stand? Back to us to

00:33:04.190 –> 00:33:20.640
discuss. a fistful of dollars first for the second

00:33:20.640 –> 00:33:22.920
time what was your experience with the first

00:33:22.920 –> 00:33:26.259
time watch of for a few dollars more it was interesting

00:33:26.259 –> 00:33:28.240
because at first i was trying to like determine

00:33:28.240 –> 00:33:31.940
because we see some many of the same actors but

00:33:31.940 –> 00:33:35.819
clearly playing different characters maybe maybe

00:33:35.819 –> 00:33:38.200
not so that was like that was where i was trying

00:33:38.200 –> 00:33:40.259
to get my bearings a little bit where it’s like

00:33:40.259 –> 00:33:42.920
at first i thought we could just do oh, we can

00:33:42.920 –> 00:33:45.299
just watch, just do good to the bad and the ugly,

00:33:45.400 –> 00:33:47.079
but I’m like, wait, maybe we can, because maybe

00:33:47.079 –> 00:33:50.079
these are more connected. But ultimately, it

00:33:50.079 –> 00:33:52.140
doesn’t really necessarily matter if they’re

00:33:52.140 –> 00:33:56.660
the same characters or not. But again, going

00:33:56.660 –> 00:33:59.539
through this, as I mentioned with the first film,

00:34:00.160 –> 00:34:04.640
it’s kind of Sergio Leone kind of learning the

00:34:04.640 –> 00:34:08.199
language of Westerns. You see him, obviously

00:34:08.199 –> 00:34:11.559
the influences of someone like… Kira Kurosawa

00:34:11.559 –> 00:34:14.760
and him adding his own flavor to it and this

00:34:14.760 –> 00:34:17.519
feels even a bit more polished and then bringing

00:34:17.519 –> 00:34:20.860
in someone like Lee Van Cleef who again another

00:34:20.860 –> 00:34:23.639
veteran actor and having him play against Clint

00:34:23.639 –> 00:34:26.380
Eastwood and this you mentioned motivations for

00:34:26.380 –> 00:34:30.179
you know this makes a far more sense of it’s

00:34:30.179 –> 00:34:32.679
maybe a bit more conventional when it’s plot

00:34:32.679 –> 00:34:37.920
with its plot line you have obviously, rather

00:34:37.920 –> 00:34:41.840
evil individual. Again, we talked about black

00:34:41.840 –> 00:34:44.079
and white. In this case, I think, you know, the

00:34:44.079 –> 00:34:48.079
bad guy is clearly the bad guy. But I love how,

00:34:48.119 –> 00:34:52.320
even with all these, like, people are so distinct,

00:34:52.480 –> 00:34:54.019
have, like, all these little trinkets you can

00:34:54.019 –> 00:34:58.920
just identify them by. With El Nido, it’s obviously

00:34:58.920 –> 00:35:05.000
his… I don’t know what you would call it exactly.

00:35:05.539 –> 00:35:09.960
And then, of course, Lee Van Cleef and Clint

00:35:09.960 –> 00:35:11.719
Eastwood. I talked about how Clint Eastwood has

00:35:11.719 –> 00:35:14.559
this face that loves to snarl. Lee Van Cleef

00:35:14.559 –> 00:35:19.340
has one as well. I honestly don’t know. He’s

00:35:19.340 –> 00:35:22.659
in a lot of films, but I haven’t seen him in

00:35:22.659 –> 00:35:25.820
a lot. I have not seen a lot of his movies. At

00:35:25.820 –> 00:35:28.059
least what he’s best known for, of course, he

00:35:28.059 –> 00:35:30.199
was in The Man Who Shot Liberty Valance. But

00:35:30.199 –> 00:35:33.980
not in a huge part. This clearly, you get to

00:35:33.980 –> 00:35:37.679
see far more of him. He plays such a good role.

00:35:38.019 –> 00:35:42.420
And I think in some ways, his character is the

00:35:42.420 –> 00:35:45.159
main character here, really. I feel like he has

00:35:45.159 –> 00:35:48.800
much more of a journey. His character has much

00:35:48.800 –> 00:35:51.539
more of a story to say, where Clint Eastwood’s,

00:35:51.539 –> 00:35:54.179
his character, Monaco, or whatever you want to

00:35:54.179 –> 00:35:57.019
call it in this movie, the man with no name once

00:35:57.019 –> 00:35:59.639
again, he’s pretty consistent. He doesn’t really

00:35:59.639 –> 00:36:03.199
change. That’s his gimmick. where, you know,

00:36:03.239 –> 00:36:06.519
Colonel Douglas here, like, there’s more to him.

00:36:06.539 –> 00:36:10.460
He has a bit of a past, obviously. So I think

00:36:10.460 –> 00:36:13.420
I enjoyed this even more. I definitely feel like

00:36:13.420 –> 00:36:17.019
it is taking what worked with the first one,

00:36:17.199 –> 00:36:19.900
moving upon it, having an even stronger cast,

00:36:20.159 –> 00:36:24.000
having a narrative that is a bit more complete.

00:36:24.800 –> 00:36:27.360
It’s rough to watch at times, but mostly because

00:36:27.360 –> 00:36:30.989
without… dark and it can be again with talk

00:36:30.989 –> 00:36:33.829
about violence very violent but i think very

00:36:33.829 –> 00:36:37.869
um with some great shootouts some great climactic

00:36:37.869 –> 00:36:41.769
moments like it it can be a bit slow paced but

00:36:41.769 –> 00:36:44.090
i feel like even when it’s taking its time it

00:36:44.090 –> 00:36:47.809
that score makes it work and it’s it’s magical

00:36:47.809 –> 00:36:50.289
in that way uh what was your thoughts on this

00:36:50.289 –> 00:36:55.929
so watching the first one that’s full of dollars

00:36:56.429 –> 00:36:59.570
as the introduction into a a set of three films

00:36:59.570 –> 00:37:02.449
which have a combined runtime of i don’t know

00:37:02.449 –> 00:37:04.469
we’ll call it like 19 hours i don’t i don’t know

00:37:04.469 –> 00:37:07.329
like how long the three films are once you put

00:37:07.329 –> 00:37:09.530
them all together but but having watched that

00:37:09.530 –> 00:37:11.710
first one and knowing that it was like the first

00:37:11.710 –> 00:37:15.110
of like at least i don’t know at least nine hours

00:37:15.110 –> 00:37:19.030
of watching i was worried like i was like i don’t

00:37:19.030 –> 00:37:21.449
know if this is going to be for me like i was

00:37:21.449 –> 00:37:24.550
a little on the fence about you know fistful

00:37:24.550 –> 00:37:26.789
of dollars i liked some parts of it other parts

00:37:26.789 –> 00:37:28.429
seemed a little rough and i was like oh this

00:37:28.429 –> 00:37:32.090
might not be great this movie like completely

00:37:32.090 –> 00:37:35.349
put me back in a good spot and put me at ease

00:37:35.349 –> 00:37:39.150
like i like i just feel like it’s like you use

00:37:39.150 –> 00:37:41.730
the word polished like when i was thinking about

00:37:41.730 –> 00:37:43.769
this kind of coming into the record i i felt

00:37:43.769 –> 00:37:45.489
like i was going to make a statement of something

00:37:45.489 –> 00:37:48.070
along the lines of like to me this is the most

00:37:48.070 –> 00:37:50.889
put together film like this is the most complete

00:37:50.889 –> 00:37:54.409
film From beginning to end. That is made properly.

00:37:54.690 –> 00:37:57.650
And just works. I’m not saying any of them are

00:37:57.650 –> 00:37:59.690
made improperly. I don’t mean that. But it just

00:37:59.690 –> 00:38:02.570
feels like. I felt like more of the I’s are dotted.

00:38:02.650 –> 00:38:04.250
More of the T’s are crossed. Not that it’s just

00:38:04.250 –> 00:38:06.650
nice and neat. Because there’s a lot of grit

00:38:06.650 –> 00:38:08.449
to it still. There’s a lot of grit in all of

00:38:08.449 –> 00:38:10.949
these films. Clearly. That’s why they’re known

00:38:10.949 –> 00:38:14.449
for what they are. And there’s a lot of dark

00:38:14.449 –> 00:38:17.670
side. The dark side of westerns. I guess you

00:38:17.670 –> 00:38:20.329
could call it. It still has all of that, but

00:38:20.329 –> 00:38:22.190
I just felt like it was more complete. There

00:38:22.190 –> 00:38:26.690
was not as many gaps for me in following. I didn’t

00:38:26.690 –> 00:38:28.210
have any gaps as far as character motivation,

00:38:28.570 –> 00:38:31.090
background, none of that. And I just really loved

00:38:31.090 –> 00:38:34.190
the playing off of Clint Eastwood and Lee Van

00:38:34.190 –> 00:38:36.710
Cleef. Those two going off of each other. And

00:38:36.710 –> 00:38:39.849
honestly, the other gentleman that plays El Indio

00:38:39.849 –> 00:38:44.429
is not bad either. Yes, he’s slimy, and yes,

00:38:44.429 –> 00:38:46.909
he’s bad like he’s supposed to be, but he’s…

00:38:47.379 –> 00:38:49.219
doing a pretty good job playing off of these

00:38:49.219 –> 00:38:51.320
other two individuals as well so i just liked

00:38:51.320 –> 00:38:56.960
like yes we have a large cast i guess you could

00:38:56.960 –> 00:39:01.039
call it but they do it in a way where you really

00:39:01.039 –> 00:39:05.820
kind of get to know each individual for the most

00:39:05.820 –> 00:39:07.679
part i mean there’s a few gang members that you

00:39:07.679 –> 00:39:09.760
don’t really get to know but for the there’s

00:39:09.760 –> 00:39:11.840
quite a few that you get to at least get a glimpse

00:39:11.840 –> 00:39:14.360
of who they are and i thought that it did a good

00:39:14.360 –> 00:39:17.179
job of giving some of them individual moments

00:39:17.179 –> 00:39:20.699
and having some more like one -on -one time for

00:39:20.699 –> 00:39:23.760
whether it be clint eastwood and you know gang

00:39:23.760 –> 00:39:25.760
member number two or whatever i don’t know all

00:39:25.760 –> 00:39:28.559
their names but like groggy and cachillo and

00:39:28.559 –> 00:39:32.039
nino i don’t know there was a lot to be i think

00:39:32.039 –> 00:39:33.880
was one of them i remember that so like they

00:39:33.880 –> 00:39:36.179
do enough of giving them some moments where it’s

00:39:36.179 –> 00:39:38.079
like it doesn’t just feel like a bunch of foot

00:39:38.079 –> 00:39:40.780
soldiers that are unnamed it feels like you know

00:39:41.099 –> 00:39:42.579
they each have a little bit of a personality

00:39:42.579 –> 00:39:45.400
that you can kind of follow. So I enjoyed that.

00:39:45.480 –> 00:39:48.460
The music is, is on point. It’s the same, a lot

00:39:48.460 –> 00:39:51.079
of the same stuff that we, uh, same foundation

00:39:51.079 –> 00:39:53.079
that we got from the first film, just expanded

00:39:53.079 –> 00:39:55.119
in different ways. So like that does wonders

00:39:55.119 –> 00:39:56.559
as well. And I think he actually gets credit

00:39:56.559 –> 00:39:58.079
for this film. I don’t think he got credited

00:39:58.079 –> 00:40:00.960
in the first one. Um, if I remember correctly,

00:40:01.079 –> 00:40:03.639
when you, when you view the movie, at least through

00:40:03.639 –> 00:40:06.559
the streaming service I did, he’s not, he’s under

00:40:06.559 –> 00:40:08.599
like a pseudonym or something in the first film.

00:40:09.230 –> 00:40:11.650
whereas he’s actually got his real name i think

00:40:11.650 –> 00:40:13.190
on the second one or something there there has

00:40:13.190 –> 00:40:14.909
to be some type of backstory to that but i didn’t

00:40:14.909 –> 00:40:17.510
dig into it but so obviously that’s that’s good

00:40:17.510 –> 00:40:21.989
as well um it was interesting with the like if

00:40:21.989 –> 00:40:24.050
you view these three films and the the actors

00:40:24.050 –> 00:40:26.230
that are present but playing different characters

00:40:26.230 –> 00:40:28.289
and and all of this that and the other like is

00:40:28.289 –> 00:40:30.110
this a trilogy is this not a trilogy i guess

00:40:30.110 –> 00:40:32.889
it goes into that question but I don’t think

00:40:32.889 –> 00:40:35.070
it’s important one way or the other. Like I think

00:40:35.070 –> 00:40:37.090
you can watch them regardless. And if you want

00:40:37.090 –> 00:40:38.650
to make some cool, like little connections that

00:40:38.650 –> 00:40:40.150
some of them are the same characters and cool,

00:40:40.190 –> 00:40:43.210
have fun with that and like do some fan fiction

00:40:43.210 –> 00:40:45.429
with how those are connected, I guess. But like,

00:40:45.510 –> 00:40:47.949
I don’t think it’s important necessarily overall.

00:40:48.909 –> 00:40:50.590
But I just, I just thought it was interesting

00:40:50.590 –> 00:40:52.750
because you do have, you know, you’re in a Western,

00:40:52.829 –> 00:40:56.800
right? So one thing about Westerns is you. learn

00:40:56.800 –> 00:40:59.059
early on if you’re watching anything in this

00:40:59.059 –> 00:41:01.579
genre that nobody can be trusted right like yeah

00:41:01.579 –> 00:41:04.440
you know like no matter who’s presented as a

00:41:04.440 –> 00:41:07.480
good guy or bad guy or friends or whatever colleagues

00:41:07.480 –> 00:41:10.679
or on the same side that at any second somebody

00:41:10.679 –> 00:41:12.940
could be turning on somebody somebody could be

00:41:12.940 –> 00:41:14.480
backstabbing somebody shooting somebody in the

00:41:14.480 –> 00:41:16.739
back like you never know what the the ultimate

00:41:16.739 –> 00:41:19.079
motivations are and i think that works in the

00:41:19.079 –> 00:41:21.320
the situation where you have like two different

00:41:21.320 –> 00:41:25.059
bounty hunters that are teaming up But are they

00:41:25.059 –> 00:41:27.099
teaming up? And how is that dynamic going to

00:41:27.099 –> 00:41:29.039
work? Who’s going to turn on who? How is that

00:41:29.039 –> 00:41:31.079
going to work? It just adds a good amount of

00:41:31.079 –> 00:41:34.920
tension. I know you said at times it may be slow

00:41:34.920 –> 00:41:38.579
or taking its time with stuff. I never felt that

00:41:38.579 –> 00:41:41.039
necessarily because I was so invested in the

00:41:41.039 –> 00:41:44.119
tension that was built between these individuals.

00:41:44.260 –> 00:41:50.079
There was a moment where it felt like at one

00:41:50.079 –> 00:41:53.699
point they were going to… follow the exact

00:41:53.699 –> 00:41:57.619
same beat for beat moments that we got in the

00:41:57.619 –> 00:42:00.820
other film like it’s not the same film i i’m

00:42:00.820 –> 00:42:02.639
not saying that and there’s different characters

00:42:02.639 –> 00:42:05.159
with different motivations but there was certain

00:42:05.159 –> 00:42:06.960
things where it’s like oh i remember when they

00:42:06.960 –> 00:42:10.619
did this exact thing in the last film like for

00:42:10.619 –> 00:42:14.260
example clint eastwood’s character manco or the

00:42:14.260 –> 00:42:17.079
man with no name in this one goes off ahead or

00:42:17.079 –> 00:42:19.539
goes into a different part of the area that you

00:42:19.539 –> 00:42:21.059
know he’s not connected with the whole group

00:42:21.559 –> 00:42:24.360
And then he has to apparently take a horseback

00:42:24.360 –> 00:42:28.820
ride through shortcuts to get to somewhere that

00:42:28.820 –> 00:42:30.980
he shouldn’t be ahead of him. He does that in

00:42:30.980 –> 00:42:33.519
both films. There was a few times where it was

00:42:33.519 –> 00:42:36.679
like, oh, we’re doing that again. But even though

00:42:36.679 –> 00:42:39.940
that happened, I felt like they didn’t dwell

00:42:39.940 –> 00:42:43.420
on it too much. So it was very easy to get past

00:42:43.420 –> 00:42:46.820
that and just go back into the story. But overall,

00:42:47.119 –> 00:42:50.030
I really… enjoyed this one a lot more than

00:42:50.030 –> 00:42:53.929
i thought i was going to so i’m positive on this

00:42:53.929 –> 00:42:55.929
one for sure other thoughts on on this one dan

00:42:55.929 –> 00:42:58.690
yeah well also another consistency with all the

00:42:58.690 –> 00:43:01.309
movies in this they love shooting hats there’s

00:43:01.309 –> 00:43:04.349
always there’s so much hat shots so so many shooting

00:43:04.349 –> 00:43:07.730
of hats in this yeah i think one thing this has

00:43:07.730 –> 00:43:10.179
is there’s certainly probably the most emotional

00:43:10.179 –> 00:43:12.519
journey within this, obviously, you know, El

00:43:12.519 –> 00:43:15.639
Nido, like in the El Nido, or I can’t say his

00:43:15.639 –> 00:43:19.099
name correctly. Indio. Indio, like his, you see,

00:43:19.340 –> 00:43:23.539
he certainly is, you know, this vicious individual.

00:43:24.360 –> 00:43:28.400
And it’s also like, it’s intriguing, like looking

00:43:28.400 –> 00:43:29.820
into this history, it’s like one of the first

00:43:29.820 –> 00:43:33.309
times where it. a movie with evils you know since

00:43:33.309 –> 00:43:36.369
like the 30s showing like sexual assault in the

00:43:36.369 –> 00:43:38.809
way this did and the way that that scene kind

00:43:38.809 –> 00:43:41.050
of goes back to that scene and you’re not really

00:43:41.050 –> 00:43:44.630
sure you know what happened and how it plays

00:43:44.630 –> 00:43:48.309
out and then but also when you learn more about

00:43:48.309 –> 00:43:50.909
the history of the van cleave’s character like

00:43:50.909 –> 00:43:52.650
you said it is the most complete in the sense

00:43:52.650 –> 00:43:56.670
of like this has the most layers to it like in

00:43:56.670 –> 00:43:58.929
the This has the most depth to it when it comes

00:43:58.929 –> 00:44:00.949
to who these characters are and what’s driving

00:44:00.949 –> 00:44:03.489
them and how they’re connected to the story.

00:44:04.409 –> 00:44:08.050
There’s a lot here to it. And one other thing

00:44:08.050 –> 00:44:10.269
I think probably even rewards rewatching, because

00:44:10.269 –> 00:44:12.010
once you have that back knowledge and seeing

00:44:12.010 –> 00:44:14.710
how these pieces go together, it makes even more

00:44:14.710 –> 00:44:17.389
sense. But also kind of the cat and mouse game

00:44:17.389 –> 00:44:20.030
they’re playing. Again, making another weird

00:44:20.030 –> 00:44:25.500
comparison, how like, you know. El Nino. I’m

00:44:25.500 –> 00:44:29.159
never going to get that right. Like, how they’re

00:44:29.159 –> 00:44:31.159
trying to play off that, like, oh, I’m joining

00:44:31.159 –> 00:44:34.159
your gang as a mercenary, but he knows he’s not

00:44:34.159 –> 00:44:38.159
really part of it, but they know he knows. It

00:44:38.159 –> 00:44:40.000
reminded me of that episode of Friends where

00:44:40.000 –> 00:44:42.659
it’s like, we know we know, or we know we know

00:44:42.659 –> 00:44:46.059
we know, and it’s like one of those things where

00:44:46.059 –> 00:44:51.579
he knows, but we know he knows. Right. But just

00:44:51.579 –> 00:44:53.900
how they kept trying to one -up each other. But

00:44:53.900 –> 00:44:55.539
it was never done to the point where it got a

00:44:55.539 –> 00:44:59.340
little bit overly ridiculous. But overall, it

00:44:59.340 –> 00:45:01.920
was… I think another thing that you kind of

00:45:01.920 –> 00:45:04.519
touched on here is this almost has a Hitchcockian

00:45:04.519 –> 00:45:06.599
feel when it comes to the supporting cast. I

00:45:06.599 –> 00:45:09.699
feel like there’s some time and attention given

00:45:09.699 –> 00:45:11.159
to them. I know I was kind of already talking

00:45:11.159 –> 00:45:13.159
about it, but I had forgotten to mention a couple

00:45:13.159 –> 00:45:15.860
characters. But just thinking of in the first

00:45:15.860 –> 00:45:18.900
film, his quote -unquote friend that he’s living

00:45:18.900 –> 00:45:21.599
with. I’m not going to try to get all the names

00:45:21.599 –> 00:45:23.199
right, but there’s like an individual that’s

00:45:23.199 –> 00:45:25.679
kind of like putting him up and like, he’s staying

00:45:25.679 –> 00:45:27.440
at his house and that’s a guy that gets tortured.

00:45:27.539 –> 00:45:31.559
And then there’s also the, the, the, you know

00:45:31.559 –> 00:45:33.340
what you want to call it? The coffin maker, the,

00:45:33.420 –> 00:45:36.579
I don’t know what his technical job is. I’m not

00:45:36.579 –> 00:45:39.340
skilled in that part of the world, I guess, but,

00:45:39.380 –> 00:45:41.400
but whoever’s like building the coffins for everybody,

00:45:41.460 –> 00:45:44.980
like the way that they like. make those so interesting

00:45:44.980 –> 00:45:46.960
characters with so little to do that you’re almost

00:45:46.960 –> 00:45:48.960
like can i just like follow like is there another

00:45:48.960 –> 00:45:51.079
movie of his backstory and like they do that

00:45:51.079 –> 00:45:56.519
for um and this one as well with the what do

00:45:56.519 –> 00:46:00.059
they call them like the old prophet and like

00:46:00.059 –> 00:46:02.239
there’s just these like little side characters

00:46:02.239 –> 00:46:04.360
that could be just throwaway characters for a

00:46:04.360 –> 00:46:07.539
lot of directors that leonie or the screenwriters

00:46:07.539 –> 00:46:11.300
or whatever are putting just enough essence into

00:46:11.300 –> 00:46:14.230
those characters that makes you want to see more

00:46:14.230 –> 00:46:16.409
of them or really enjoy their time on screen

00:46:16.409 –> 00:46:19.469
and and i think that just helps build like this

00:46:19.469 –> 00:46:21.690
whole picture it’s like world building or ensemble

00:46:21.690 –> 00:46:24.070
building when it comes to this cast where like

00:46:24.070 –> 00:46:26.630
i feel like we’ve seen it so many times in other

00:46:26.630 –> 00:46:28.650
action films or other westerns or other whatever

00:46:28.650 –> 00:46:31.289
modern films where it’s just like they’re just

00:46:31.289 –> 00:46:34.929
cannon fodder or they’re just like moving the

00:46:34.929 –> 00:46:38.050
plot from point a to point b whereas in in these

00:46:38.050 –> 00:46:40.050
films i feel like they’re they’re given a heart

00:46:40.320 –> 00:46:42.099
like they’re given a heart and soul to these

00:46:42.099 –> 00:46:43.760
some of these characters which is weird because

00:46:43.760 –> 00:46:46.059
none of them are using you know they’re all being

00:46:46.059 –> 00:46:47.960
dubbed over and different stuff like that but

00:46:47.960 –> 00:46:50.239
like it’s not like it’s not like ai where you’re

00:46:50.239 –> 00:46:52.039
looking at like somebody that you know like isn’t

00:46:52.039 –> 00:46:54.599
there it like some way they they instill this

00:46:54.599 –> 00:46:56.760
like realness into these characters and that’s

00:46:56.760 –> 00:46:58.460
something that i really appreciated so far in

00:46:58.460 –> 00:47:01.940
both of these films yeah like he’s able to i

00:47:01.940 –> 00:47:04.179
think convey a lot in a little bit of space similar

00:47:04.179 –> 00:47:07.119
to hitchcock where like he can give you a lot

00:47:07.119 –> 00:47:09.099
of information or like he’ll make a character

00:47:09.099 –> 00:47:12.659
very distinct very quickly so when they come

00:47:12.659 –> 00:47:14.699
back again you’ll be able to recognize them in

00:47:14.699 –> 00:47:18.079
some way so definitely yeah anything else on

00:47:18.079 –> 00:47:19.960
this second chapter or should we move into the

00:47:19.960 –> 00:47:22.559
i guess in the most notable name of the three

00:47:22.559 –> 00:47:23.980
that everybody knows the good the bad and the

00:47:23.980 –> 00:47:26.840
ugly whether they’ve seen it or not are you ready

00:47:26.840 –> 00:47:28.760
to move on to that one yeah let’s go ahead and

00:47:28.760 –> 00:47:30.780
finish off the trilogy all right so why don’t

00:47:30.780 –> 00:47:32.820
you set the stage for the good the bad and the

00:47:32.820 –> 00:47:35.239
ugly and then we’ll give you our thoughts it

00:47:35.239 –> 00:47:37.880
is the end It is the end, my friend, of the Dollars

00:47:37.880 –> 00:47:40.460
Trilogy with the Good, the Bad, and the Ugly.

00:47:40.579 –> 00:47:43.340
Set during the American Civil War, three morally

00:47:43.340 –> 00:47:46.019
ambiguous gunslingers, the Good, Blondie, the

00:47:46.019 –> 00:47:49.079
Bad Angel Eyes, and the Ugly, race across a war

00:47:49.079 –> 00:47:52.039
-torn landscape in search of a buried cache of

00:47:52.039 –> 00:47:55.500
Confederate gold. Blondie and Tuco form a shaky,

00:47:55.679 –> 00:47:58.900
exploitive partnership, repeatedly double -crossing

00:47:58.900 –> 00:48:01.699
each other while using a hanging scam to make

00:48:01.699 –> 00:48:04.320
money until they’re drawn into a larger hunt

00:48:04.320 –> 00:48:07.389
after Tuco learns the name of a cemetery holding

00:48:07.389 –> 00:48:10.590
the treasure, and Blondie learns the grave itself.

00:48:10.969 –> 00:48:13.190
Meanwhile, the ruthless Angel Eyes pursues the

00:48:13.190 –> 00:48:16.130
same prize, eliminating anyone in his way. Their

00:48:16.130 –> 00:48:18.550
intersecting paths lead them through the desert,

00:48:18.730 –> 00:48:21.829
prison camps, and battlefields, culminating in

00:48:21.829 –> 00:48:24.469
a tense three -way standoff at Sam Hill until

00:48:24.469 –> 00:48:28.429
Blondie gets the upper hand, allowing him and

00:48:28.429 –> 00:48:31.760
Tuco to capture the prize. Although the last

00:48:31.760 –> 00:48:33.780
film in the trilogy, most consider it a prequel

00:48:33.780 –> 00:48:35.699
explaining how Clint Eastwood’s man with no name

00:48:35.699 –> 00:48:38.340
gets his iconic poncho. The massive Sand Hill

00:48:38.340 –> 00:48:40.820
Cemetery wasn’t a real location. It was constructed

00:48:40.820 –> 00:48:43.480
by the Spanish army in rural Spain with thousands

00:48:43.480 –> 00:48:45.619
of hand -placed stones arranged in a perfect

00:48:45.619 –> 00:48:48.079
spiral. It’s since been restored by fans and

00:48:48.079 –> 00:48:50.880
actually can be visited to this day. Once again,

00:48:50.960 –> 00:48:52.900
the only one at Charles Bronson and Henry Fonda

00:48:52.900 –> 00:48:54.940
to play major roles, but that did not occur.

00:48:55.260 –> 00:48:57.820
More on that when we cover Once Upon a Time in

00:48:57.820 –> 00:49:01.289
the West. Safety standards were not… top -notch

00:49:01.289 –> 00:49:04.059
with this movie. The actor who played Toko nearly

00:49:04.059 –> 00:49:07.119
died multiple times. He was accidentally exposed

00:49:07.119 –> 00:49:10.340
to poison, almost decapitated by a passing train,

00:49:10.460 –> 00:49:13.579
and had a close call with a few explosives. Leone

00:49:13.579 –> 00:49:15.539
used the American Civil War setting to emphasize

00:49:15.539 –> 00:49:18.440
the absurdity and brutality of war, contrasting

00:49:18.440 –> 00:49:20.420
the characters’ greed with a massive and senseless

00:49:20.420 –> 00:49:22.820
conflict around them. When The Good, the Bad,

00:49:22.820 –> 00:49:24.639
and the Ugly first came out, the reception was

00:49:24.639 –> 00:49:27.280
mixed, especially in the U .S. Many American

00:49:27.280 –> 00:49:29.500
critics thought it was too long, too violent,

00:49:29.559 –> 00:49:32.079
and morally cynical compared to traditional movies.

00:49:31.920 –> 00:49:35.119
Westerns. Reviewers weren’t used to Leone’s stylized

00:49:35.119 –> 00:49:37.820
direction, exaggerated characters, and operatic

00:49:37.820 –> 00:49:40.260
pacing, so it felt excessive to them at the time.

00:49:40.599 –> 00:49:43.159
That said, it did well with audiences and performed

00:49:43.159 –> 00:49:45.639
strongly at the box office, helping cement Clint

00:49:45.639 –> 00:49:48.460
Eastwood as a major star. In Europe, it was generally

00:49:48.460 –> 00:49:51.079
better received right away, where Leone’s style

00:49:51.079 –> 00:49:53.760
was more appreciated. Of course, over time, the

00:49:53.760 –> 00:49:56.420
film’s reputation has completely flipped. Critics

00:49:56.420 –> 00:49:58.500
and filmmakers began to recognize its influence,

00:49:58.619 –> 00:50:01.420
especially its editing, cinematography, and Indium

00:50:01.420 –> 00:50:04.000
and Acorni’s iconic score. Today, it’s widely

00:50:04.000 –> 00:50:05.920
considered one of the greatest movies, not just

00:50:05.920 –> 00:50:08.840
Westerns, ever made, and often appears on best

00:50:08.840 –> 00:50:12.760
-of -all -time lists, including IMDb and Letterboxd.

00:50:12.800 –> 00:50:15.920
But where do Kevin and I stand? Where do we think

00:50:15.920 –> 00:50:19.699
it fits among the trilogy? Back to us to discuss.

00:50:20.320 –> 00:50:22.519
All right, thank you for that. Another first

00:50:22.519 –> 00:50:24.559
-time watch for both of us, even though that

00:50:24.559 –> 00:50:27.460
seems hard to believe. neither one of us had

00:50:27.460 –> 00:50:30.519
seen this one going into this one so uh but now

00:50:30.519 –> 00:50:34.559
we have so so we had a mix for me so far we had

00:50:34.559 –> 00:50:36.159
like the first one which was maybe a little bit

00:50:36.159 –> 00:50:38.500
lower for me and then the second one which i

00:50:38.500 –> 00:50:41.460
was very high on i know you were maybe the gap

00:50:41.460 –> 00:50:43.099
between the two wasn’t as big for you but it

00:50:43.099 –> 00:50:45.119
felt like you were a little more positive on

00:50:45.119 –> 00:50:47.260
the second one than the first one when it comes

00:50:47.260 –> 00:50:49.840
to the wrap -up of this thing the good the bad

00:50:49.840 –> 00:50:52.489
and the ugly where did you land in Yeah, and,

00:50:52.590 –> 00:50:54.110
like, it’s tough with a movie like The Good,

00:50:54.110 –> 00:50:55.869
The Bad, The Ugly because you always try to go

00:50:55.869 –> 00:50:57.469
in the movie, like, I try to go into any movie

00:50:57.469 –> 00:50:59.510
with, like, you know, trying to set your expectations

00:50:59.510 –> 00:51:02.670
and not trying to, like, overhype yourself because

00:51:02.670 –> 00:51:05.550
you’re almost guaranteed to, you know, be disappointed.

00:51:06.809 –> 00:51:08.329
But when you have a movie like The Good, The

00:51:08.329 –> 00:51:11.909
Bad, and The Ugly that is obviously so well regarded,

00:51:12.050 –> 00:51:13.769
it’s known as, like, one of the greatest restrooms

00:51:13.769 –> 00:51:17.280
of all time, you know, how do you… i just live

00:51:17.280 –> 00:51:19.699
up to that hype and it’s almost almost sometimes

00:51:19.699 –> 00:51:22.840
guaranteed to disappoint in some ways but i think

00:51:22.840 –> 00:51:25.059
it’s helpful obviously having the background

00:51:25.059 –> 00:51:29.199
of what came before being able to you know go

00:51:29.199 –> 00:51:31.760
into it and honestly going in like watching it

00:51:31.760 –> 00:51:35.409
it was not necessarily what i expected at all,

00:51:35.489 –> 00:51:38.010
obviously. I didn’t realize it would be set during

00:51:38.010 –> 00:51:41.630
the Civil War, which it’s not something we’ve,

00:51:41.730 –> 00:51:44.650
with all the Westerns we’ve done so far, not

00:51:44.650 –> 00:51:48.409
something we’ve seen. We’ve seen much more post

00:51:48.409 –> 00:51:51.730
-Civil War than taking place during the Civil

00:51:51.730 –> 00:51:56.110
War. You see a lot of similarities in the sense,

00:51:56.130 –> 00:51:59.449
like you said, a lot of repeated elements in

00:51:59.449 –> 00:52:01.289
the sense of these characters going into town.

00:52:01.469 –> 00:52:05.699
In this way, What their objectives are are very

00:52:05.699 –> 00:52:07.619
clear in the sense of how they’re trying to get

00:52:07.619 –> 00:52:13.360
money. Again, you have very specific characters.

00:52:13.440 –> 00:52:15.760
Now we, of course, get Lee Van Cleef back again,

00:52:15.820 –> 00:52:19.679
but he’s playing, obviously, Angel Eyes. Now

00:52:19.679 –> 00:52:24.099
he’s in the villain role, and then getting Tuco

00:52:24.099 –> 00:52:27.730
as playing the ugly. I was actually taken back

00:52:27.730 –> 00:52:31.030
at first because we’re watching this. And the

00:52:31.030 –> 00:52:34.429
good one is his biggest actions at first was,

00:52:34.429 –> 00:52:36.130
you know, they have this scheme they’re going

00:52:36.130 –> 00:52:41.289
through where they fake trying to kill with the

00:52:41.289 –> 00:52:43.510
hanging. They let him and then they figure out

00:52:43.510 –> 00:52:45.510
a way to get free and they collect the money

00:52:45.510 –> 00:52:48.170
and go from there. And then like he’s like, OK,

00:52:48.289 –> 00:52:50.679
well, we’re done now. So I’m going to. You stay

00:52:50.679 –> 00:52:52.639
tied up in the middle of the desert and I’ll

00:52:52.639 –> 00:52:54.639
go on with my day. I’m like, well, that’s kind

00:52:54.639 –> 00:52:56.940
of a crummy thing to do. Like you’re the good

00:52:56.940 –> 00:52:59.000
guy and you’re like, that doesn’t, that seems

00:52:59.000 –> 00:53:02.360
kind of. The bar is low. Yeah. I mean, like I’m

00:53:02.360 –> 00:53:05.619
kind of on his side here and, but seeing how

00:53:05.619 –> 00:53:10.239
it like, in a way, how it has to win you back,

00:53:10.400 –> 00:53:13.980
like how I have to get back on his side by like

00:53:13.980 –> 00:53:18.719
basically seeing him be tortured. and go through

00:53:18.719 –> 00:53:20.860
that. So obviously this is the longest of the

00:53:20.860 –> 00:53:25.139
three. It’s over three hours or so. And I don’t

00:53:25.139 –> 00:53:27.340
know, like, oh no, it’s almost three hours. Sorry.

00:53:27.400 –> 00:53:28.760
It’s not over three hours. It’s almost three

00:53:28.760 –> 00:53:31.039
hours. And it has all those harmonics. It has

00:53:31.039 –> 00:53:34.960
all those elements of what we came before. Is

00:53:34.960 –> 00:53:38.179
it the best of all the three? I don’t, I don’t

00:53:38.179 –> 00:53:40.940
know. To me, it’s not as clear cut as it’s made

00:53:40.940 –> 00:53:43.559
out to be personally, because there’s certainly

00:53:43.559 –> 00:53:45.860
a lot of greatness here. A lot of what worked.

00:53:48.269 –> 00:53:52.030
are here as well, like, Leone is a master, like

00:53:52.030 –> 00:53:54.510
I said, when it comes to his visual style, the

00:53:54.510 –> 00:53:58.010
epicness of this is incredible, but I think,

00:53:58.010 –> 00:54:01.550
like you mentioned with, or we talked about with

00:54:01.550 –> 00:54:05.230
the second film, like, the characters here, I

00:54:05.230 –> 00:54:08.269
think they’re interesting, they’re entertaining,

00:54:08.650 –> 00:54:12.190
but I don’t think we have as much in the sense

00:54:12.190 –> 00:54:17.030
of that emotional connection. It’s not here as

00:54:17.030 –> 00:54:19.630
much. Obviously, it’s more so because they’re

00:54:19.630 –> 00:54:22.510
just after riches. That’s the goal here. And

00:54:22.510 –> 00:54:25.389
it’s not necessarily a bad goal, but I think

00:54:25.389 –> 00:54:29.449
it limits the general impact in the sense of

00:54:29.449 –> 00:54:37.280
how much the story can… I think it… It doesn’t

00:54:37.280 –> 00:54:39.559
have that emotional connection that the second

00:54:39.559 –> 00:54:42.559
one did for me. So I don’t know. It’s certainly,

00:54:42.659 –> 00:54:45.360
obviously, deserving of its place for a lot of

00:54:45.360 –> 00:54:48.599
reasons. I’m glad I watched it. But I’m curious

00:54:48.599 –> 00:54:50.860
what you thought of it compared to everything

00:54:50.860 –> 00:54:55.860
that came before. I think for me, it’s interesting.

00:54:56.659 –> 00:55:00.119
This is almost the least Western out of all of

00:55:00.119 –> 00:55:03.539
them. In some ways it is. You know what I mean?

00:55:03.579 –> 00:55:06.159
There’s a lot of desert. yeah like the setting

00:55:06.159 –> 00:55:08.820
is western i guess but like it’s almost more

00:55:08.820 –> 00:55:11.760
of an epic like maybe not epic but like it’s

00:55:11.760 –> 00:55:14.400
like got the war stuff going on which they’re

00:55:14.400 –> 00:55:17.960
like it’s like forrest gump -esque like they’re

00:55:17.960 –> 00:55:20.659
just like getting thrown into random like parts

00:55:20.659 –> 00:55:24.000
of american history and like somehow playing

00:55:24.000 –> 00:55:26.719
a part in like major things that are happening

00:55:26.719 –> 00:55:31.400
in this war but like nobody knows it like So

00:55:31.400 –> 00:55:33.900
it’s interesting. You have that war background.

00:55:34.099 –> 00:55:35.900
You have a lot more where it’s just them going

00:55:35.900 –> 00:55:38.159
after money. You lose a little bit of the Western

00:55:38.159 –> 00:55:41.360
aspect of what you get in some of the ones we’ve

00:55:41.360 –> 00:55:43.940
seen that are just more, I guess, classic, classic

00:55:43.940 –> 00:55:47.559
to me Western, where this is Western on the fringes,

00:55:47.559 –> 00:55:49.260
but then there’s a whole lot of other stuff going

00:55:49.260 –> 00:55:54.039
on that’s not Western. And I think it serves

00:55:54.039 –> 00:55:58.340
a purpose in making it stand out and be a little

00:55:58.340 –> 00:55:59.860
different than the other two that we have just

00:55:59.860 –> 00:56:04.960
watched. in some ways but in other ways you do

00:56:04.960 –> 00:56:09.900
have to like i don’t know suspend some disbelief

00:56:09.900 –> 00:56:12.000
or like you have to be able to be willing to

00:56:12.000 –> 00:56:14.840
just like roll with what’s going on here like

00:56:14.840 –> 00:56:18.340
we have two sides of a civil war that are having

00:56:18.340 –> 00:56:21.800
a battle with a very strategically important

00:56:21.800 –> 00:56:24.599
bridge or river or whatever we’re trying to like

00:56:24.599 –> 00:56:28.079
set that up as and these folks are able to just

00:56:28.079 –> 00:56:33.860
like walk to the bridge and blow it up or whatever

00:56:33.860 –> 00:56:37.239
you know what i mean like like no like i don’t

00:56:37.239 –> 00:56:38.820
know if that happens in real life you know what

00:56:38.820 –> 00:56:41.159
i mean like i feel like the the two sides are

00:56:41.159 –> 00:56:42.619
going to be like keeping a closer eye on anybody

00:56:42.619 –> 00:56:44.539
that’s coming near that so like there’s some

00:56:44.539 –> 00:56:47.059
issues like that where it’s like yeah okay i’ll

00:56:47.059 –> 00:56:49.239
just go with it it didn’t take me out of the

00:56:49.239 –> 00:56:51.619
film but it’s just like okay i’m just gonna like

00:56:51.619 –> 00:56:54.320
not think too hard about those aspects and we’re

00:56:54.320 –> 00:56:56.639
gonna go on i think the interesting thing here

00:56:56.639 –> 00:56:59.320
is though is the the big time inclusion of a

00:56:59.320 –> 00:57:03.719
third To me, I know one is labeled the good,

00:57:03.800 –> 00:57:05.559
one is labeled the bad, and one is labeled the

00:57:05.559 –> 00:57:11.619
ugly. But it’s almost as if you get… I guess

00:57:11.619 –> 00:57:14.079
you can’t make that argument for Angel Eyes being

00:57:14.079 –> 00:57:18.260
an anti -hero. But you get three characters that,

00:57:18.300 –> 00:57:20.420
to me, have more shades of gray than what we

00:57:20.420 –> 00:57:25.340
got in the other films. Before… I don’t know.

00:57:25.420 –> 00:57:28.480
It felt like a different dynamic. So I feel like

00:57:28.480 –> 00:57:32.079
by putting Tuco in here… the quote -unquote

00:57:32.079 –> 00:57:35.960
ugly one i guess um it takes away from their

00:57:35.960 –> 00:57:39.760
ability to elevate some of the other supporting

00:57:39.760 –> 00:57:42.300
cast because we have to spend a lot more time

00:57:42.300 –> 00:57:44.539
with these three main guys right and i know there

00:57:44.539 –> 00:57:45.960
was three guys that we’re talking about with

00:57:45.960 –> 00:57:51.179
indio and eastwood character and lee van cleef’s

00:57:51.179 –> 00:57:52.820
character in the other film but it’s a different

00:57:52.820 –> 00:57:54.539
dynamic i feel like because it was two working

00:57:54.539 –> 00:57:57.480
against one whereas in this one you get Three

00:57:57.480 –> 00:58:00.380
individuals that are. Yes at times they’re working

00:58:00.380 –> 00:58:02.719
together. But you still get the feel. That they’re

00:58:02.719 –> 00:58:04.840
all three separate. And so I feel like you had

00:58:04.840 –> 00:58:07.199
to. You pay. You had to invest a lot more into

00:58:07.199 –> 00:58:10.820
that. So like yes we do get like the drunk. A

00:58:10.820 –> 00:58:14.059
union captain. And we do get like. Some of these

00:58:14.059 –> 00:58:17.659
other folks. But. There’s not a lot to them right.

00:58:18.079 –> 00:58:20.760
Like they’re a little more one note. Than what

00:58:20.760 –> 00:58:22.400
we get with the other supporting cast. In the

00:58:22.400 –> 00:58:24.139
other films. At least that’s how I kind of felt.

00:58:24.679 –> 00:58:29.699
I still think this one. works like I think the

00:58:29.699 –> 00:58:33.099
second one and the third one work more as like

00:58:33.099 –> 00:58:35.860
both within each other as like this trilogy but

00:58:35.860 –> 00:58:37.980
I think they both also work as individual films

00:58:37.980 –> 00:58:40.800
by themselves and I think that’s for me where

00:58:40.800 –> 00:58:43.559
the first one almost needs these two for me to

00:58:43.559 –> 00:58:49.099
be as a better film so I still enjoy this one

00:58:49.500 –> 00:58:52.239
it i felt a lot more of the the run time in this

00:58:52.239 –> 00:58:53.820
one obviously than the other ones granted it

00:58:53.820 –> 00:58:55.659
is longer so you’re gonna feel it in in some

00:58:55.659 –> 00:58:58.579
ways but i think there was some like you mentioned

00:58:58.579 –> 00:59:00.039
it in the last one where like there were some

00:59:00.039 –> 00:59:01.940
slow aspects i didn’t pick up on that as much

00:59:01.940 –> 00:59:03.659
in the middle one but on this one for sure i’m

00:59:03.659 –> 00:59:08.219
like okay like i get it but let’s get there in

00:59:08.219 –> 00:59:11.920
a couple situations like uh where it came i do

00:59:11.920 –> 00:59:14.420
like like some of the clever ways they they do

00:59:14.420 –> 00:59:16.239
some callbacks to the beginning with like the

00:59:16.239 –> 00:59:19.369
the shooting of the the rope. Cause at first

00:59:19.369 –> 00:59:20.929
I was like, Oh, he’s, he’s just going to leave

00:59:20.929 –> 00:59:24.170
this guy here. Yeah. He’s about to die. I don’t

00:59:24.170 –> 00:59:25.690
know why I didn’t pick up like, Oh, he’s just

00:59:25.690 –> 00:59:27.150
getting far enough away where he can like do

00:59:27.150 –> 00:59:29.010
what he did at the beginning. Like, it’s like,

00:59:29.070 –> 00:59:32.090
Oh, that’s a perfect way to like come full circle

00:59:32.090 –> 00:59:33.989
on that. I don’t know why that caught me off

00:59:33.989 –> 00:59:35.969
guard, but like, so I think there’s a lot to

00:59:35.969 –> 00:59:40.429
like on this one. I’m a little torn on if I,

00:59:40.489 –> 00:59:43.530
if all of it works quite as much as like, let’s

00:59:43.530 –> 00:59:46.800
say the second one did for me. I do think it’s

00:59:46.800 –> 00:59:49.920
good. I think it’s better than good. I understand

00:59:49.920 –> 00:59:54.460
why it’s known. I understand why it’s got the

00:59:54.460 –> 00:59:57.000
reputation it does and where some of the influential

00:59:57.000 –> 01:00:00.139
aspects come from it. I think if you’re doing

01:00:00.139 –> 01:00:02.340
a deep dive into each one of these films, though,

01:00:02.460 –> 01:00:05.179
I don’t think it’s as clear -cut as which one

01:00:05.179 –> 01:00:09.780
has the most name recognition compared to, for

01:00:09.780 –> 01:00:13.380
me, which one was the best movie. Yeah, I was

01:00:13.380 –> 01:00:17.280
considering the overall like perception of all

01:00:17.280 –> 01:00:19.340
these like it you know would think it was going

01:00:19.340 –> 01:00:23.260
my overall impression would be clear and it’s

01:00:23.260 –> 01:00:25.619
not necessarily like i i think my overall like

01:00:25.619 –> 01:00:29.300
i like them almost equally very close to one

01:00:29.300 –> 01:00:33.239
another like the first one i think is on a filmmaking

01:00:33.239 –> 01:00:36.519
standpoint probably the the least well -made

01:00:36.519 –> 01:00:38.619
film but in a lot of ways i kind of appreciate

01:00:38.619 –> 01:00:40.940
just the ambition of it because it’s you know

01:00:40.940 –> 01:00:43.639
it’s just the achievement of getting that made

01:00:43.639 –> 01:00:47.699
um like the fact that it’s going out and getting

01:00:47.699 –> 01:00:50.739
it done and clearly just trying to probably learn

01:00:50.739 –> 01:00:52.739
as you go and like that like the fact that it

01:00:52.739 –> 01:00:54.519
works as well as it does it’s a bit of a miracle

01:00:54.519 –> 01:00:58.179
um but like i still think i don’t have anyone

01:00:58.179 –> 01:01:01.320
like any issues and i think the good and bad

01:01:01.320 –> 01:01:03.039
the ugly too is one i think if i saw it again

01:01:03.039 –> 01:01:06.210
i probably would enjoy it even more and being

01:01:06.210 –> 01:01:10.130
able to probably pick up on things that I missed.

01:01:10.329 –> 01:01:13.889
But certainly you see a lot of what Leone’s doing

01:01:13.889 –> 01:01:19.130
here in the sense of what he’s trying to say,

01:01:19.269 –> 01:01:22.030
playing it against the Civil War, and what he’s

01:01:22.030 –> 01:01:26.150
utilizing these characters, and obviously, like,

01:01:26.250 –> 01:01:29.590
with, you know, placing them against this North

01:01:29.590 –> 01:01:33.190
and the South, and as we see these elements,

01:01:33.230 –> 01:01:35.949
and these North and the South, Southerners, and

01:01:35.949 –> 01:01:39.630
none of them are idyllic individuals by any means,

01:01:39.670 –> 01:01:43.409
stretch of the imagination, but also seeing the

01:01:43.409 –> 01:01:47.889
Northern prison camp and how that goes. I think

01:01:47.889 –> 01:01:51.630
it’s certainly saying, even though it’s not made

01:01:51.630 –> 01:01:53.449
in America, it’s certainly saying a lot about

01:01:53.449 –> 01:02:01.010
the development of America and how the country

01:02:01.010 –> 01:02:04.639
moves on from this point. But I think when I

01:02:04.639 –> 01:02:09.099
look at overall the complexity of the characters

01:02:09.099 –> 01:02:13.179
and how the structure of it and how it plays

01:02:13.179 –> 01:02:15.300
out and how we learn more about who these individuals

01:02:15.300 –> 01:02:20.840
are as people, I feel like the second film does

01:02:20.840 –> 01:02:24.300
it in a more intriguing way. And I’ve had a bit

01:02:24.300 –> 01:02:29.179
more surprises with that. Where the third film,

01:02:29.199 –> 01:02:32.300
it’s more of the epicness. more the scale where

01:02:32.300 –> 01:02:36.059
like the movie kind of um impresses you because

01:02:36.059 –> 01:02:38.159
like there are these gigantic battle sequences

01:02:38.159 –> 01:02:40.699
and it’s and i think what’s kind of fun about

01:02:40.699 –> 01:02:42.920
it is that like the forest gump is a good comparison

01:02:42.920 –> 01:02:46.659
because you’re not the purpose of the movie isn’t

01:02:46.659 –> 01:02:49.239
the battle it’s just hitting it around the battle

01:02:49.239 –> 01:02:51.559
because it’s it’s it’s that’s more of a obstacle

01:02:51.559 –> 01:02:54.320
than it is the purpose so that’s kind of cool

01:02:54.320 –> 01:02:56.880
like just just being amongst just the chaos of

01:02:56.880 –> 01:02:59.800
that moment but uh but yeah because i think a

01:02:59.800 –> 01:03:01.420
lot of times with history we look back at like

01:03:01.420 –> 01:03:03.800
those events and like you think like that’s how

01:03:03.800 –> 01:03:06.000
you define an era or that’s how you define a

01:03:06.000 –> 01:03:08.280
certain span of years and you forget like there’s

01:03:08.280 –> 01:03:09.900
all kinds of other people living around that

01:03:09.900 –> 01:03:11.980
right like there’s all kinds of other stories

01:03:11.980 –> 01:03:16.059
happening like kitty corner or adjacent to these

01:03:16.059 –> 01:03:18.599
big huge events and it’s always weird when you

01:03:18.599 –> 01:03:20.800
see it especially portrayed in like a film like

01:03:20.800 –> 01:03:22.760
this like or like forrest gump where it’s like

01:03:22.760 –> 01:03:26.559
oh there’s there’s just other other people that

01:03:26.559 –> 01:03:29.480
are maybe not like control to that big conflict

01:03:29.480 –> 01:03:32.099
or that big epic moment in our history but like

01:03:32.099 –> 01:03:34.500
that’s reality is that like there was a lot of

01:03:34.500 –> 01:03:37.260
other folks alive at that time in the areas and

01:03:37.260 –> 01:03:39.880
stuff like that so it’s like it but then you’re

01:03:39.880 –> 01:03:45.619
also like do i do i buy into the closeness of

01:03:45.619 –> 01:03:48.559
the events to the people and things of that nature

01:03:48.559 –> 01:03:50.800
which i get i i think part of it for me too is

01:03:50.800 –> 01:03:55.929
like maybe i’m just a big lee van cleef fan based

01:03:55.929 –> 01:03:57.909
on these two films but like the fact that he’s

01:03:57.909 –> 01:03:59.469
involved in the second and the third film and

01:03:59.469 –> 01:04:02.650
he’s absent from the first one like it almost

01:04:02.650 –> 01:04:04.769
makes me like lean towards those other two a

01:04:04.769 –> 01:04:06.110
little bit more like oh i’m missing some lee

01:04:06.110 –> 01:04:09.309
van cleef in that first film and granted like

01:04:09.309 –> 01:04:11.269
you talk about like there’s like 12 or 13 actors

01:04:11.269 –> 01:04:13.369
that that portray different characters in at

01:04:13.369 –> 01:04:15.750
least two of the three films but like he’s clearly

01:04:15.750 –> 01:04:18.289
one of the big ones from the the second and third

01:04:18.289 –> 01:04:20.489
film that that is not in the first one so it’s

01:04:20.489 –> 01:04:24.510
like oh yeah um Which I find interesting as well.

01:04:24.769 –> 01:04:29.289
But I have two questions for you. Number one,

01:04:29.429 –> 01:04:31.650
and this is kind of more thinking of the trilogy

01:04:31.650 –> 01:04:33.550
and stuff like that. Do you feel like this is,

01:04:33.630 –> 01:04:38.829
in fact, a trilogy? Or are these films that just

01:04:38.829 –> 01:04:40.789
have some similarities, but they totally stand

01:04:40.789 –> 01:04:44.829
by themselves? I think they certainly stand by

01:04:44.829 –> 01:04:46.809
themselves in the sense of you can watch… like

01:04:46.809 –> 01:04:49.070
if you were just to watch the good, bad and the

01:04:49.070 –> 01:04:51.070
ugly by itself, you would be able to do so. But

01:04:51.070 –> 01:04:54.349
I think it’s trilogy in the sense of like, they

01:04:54.349 –> 01:04:58.030
all share similar makeup. They all share similar

01:04:58.030 –> 01:05:00.429
ideas. It’s more of a thematic trilogy than it

01:05:00.429 –> 01:05:03.369
is a narrative one. Something like the vengeance

01:05:03.369 –> 01:05:06.429
trilogy comes to mind, like the old boy lady

01:05:06.429 –> 01:05:10.429
vengeance trilogy, or, you know, so like something.

01:05:11.369 –> 01:05:15.159
So I think it does. qualify as a trilogy but

01:05:15.159 –> 01:05:17.760
in a different sense than like the classic like

01:05:17.760 –> 01:05:20.139
back to the future trilogy or lord of the will

01:05:20.139 –> 01:05:23.300
lord of the rings trilogy and then my other question

01:05:23.300 –> 01:05:25.780
is like we watch these in in order of when they

01:05:25.780 –> 01:05:28.159
were made right like technically one was made

01:05:28.159 –> 01:05:30.139
in 64 the other was made in 65 the other was

01:05:30.139 –> 01:05:32.340
made in 66 they all get released in 67 in the

01:05:32.340 –> 01:05:35.639
u .s um so we watched them in that order do you

01:05:35.639 –> 01:05:38.960
think if you were like introducing somebody to

01:05:38.960 –> 01:05:42.059
this trilogy Would you suggest they watch them

01:05:42.059 –> 01:05:43.980
in the same order, or would you switch the order

01:05:43.980 –> 01:05:47.800
up? I still would say the same order, because

01:05:47.800 –> 01:05:53.619
I… Because I think… I’m on the other side.

01:05:54.000 –> 01:05:57.079
Yeah. I say the released order, because I feel

01:05:57.079 –> 01:06:01.260
like going from… So what order would you go

01:06:01.260 –> 01:06:04.539
from second to first? There’s a lot of interesting

01:06:04.539 –> 01:06:06.320
stuff. There’s a lot of interesting theories

01:06:06.320 –> 01:06:09.329
online, because… The way that we see them is

01:06:09.329 –> 01:06:13.190
not chronological. Because the good, the bad,

01:06:13.190 –> 01:06:16.730
and the ugly is in the Civil War era, it completely

01:06:16.730 –> 01:06:19.750
dates that as technically happening first. Because

01:06:19.750 –> 01:06:21.269
there’s other things that we see in the other

01:06:21.269 –> 01:06:25.610
two films that date them after that. So I feel

01:06:25.610 –> 01:06:31.650
like, to me, I go back and forth on the order

01:06:31.650 –> 01:06:34.349
of the first two. I feel like you watch A Fistful

01:06:34.349 –> 01:06:38.340
of Dollars last. because i think by that point

01:06:38.340 –> 01:06:41.940
if you watch for a few dollars more or the good

01:06:41.940 –> 01:06:44.820
and the bad and the ugly first to me you don’t

01:06:44.820 –> 01:06:46.500
have any hiccups at the beginning of fistful

01:06:46.500 –> 01:06:48.420
of dollars you understand who this character

01:06:48.420 –> 01:06:52.900
is he’s later on in life and he’s done the things

01:06:52.900 –> 01:06:56.599
that he’s done and like i totally feel like it

01:06:56.599 –> 01:06:59.400
works better with that coming last i don’t know

01:06:59.400 –> 01:07:01.800
whether you say the good the bad and the ugly

01:07:01.800 –> 01:07:04.630
then for a few dollars more or vice versa for

01:07:04.630 –> 01:07:06.449
a few dollars more introduces him as a bounty

01:07:06.449 –> 01:07:08.690
hunter and then the good bad and the ugly we

01:07:08.690 –> 01:07:10.869
clearly see he’s running a scheme i feel like

01:07:10.869 –> 01:07:13.150
those two are interchangeable there is like a

01:07:13.150 –> 01:07:16.230
some fun videos that you can go and find online

01:07:16.230 –> 01:07:18.110
like whether you go through youtube or whatever

01:07:18.110 –> 01:07:20.429
because there’s different little things that

01:07:20.429 –> 01:07:23.190
people will like none of this was planned by

01:07:23.190 –> 01:07:25.150
sergio leone i don’t think any of it necessarily

01:07:25.150 –> 01:07:27.409
holds weight but there’s like things that you

01:07:27.409 –> 01:07:29.130
can see that are kind of cool little like easter

01:07:29.130 –> 01:07:34.030
eggs like the the hat that gets shot up in the

01:07:34.030 –> 01:07:37.429
air like a million times in the one film if you

01:07:37.429 –> 01:07:40.150
watch one of the other films his hat from the

01:07:40.150 –> 01:07:45.030
first scene has those holes in it um i don’t

01:07:45.030 –> 01:07:46.530
know if that like at least that’s the theory

01:07:46.530 –> 01:07:48.610
online i didn’t like go back to like re -watch

01:07:48.610 –> 01:07:50.869
the films to say like oh that that is the case

01:07:50.869 –> 01:07:52.489
or whatever but i think there’s some fun like

01:07:52.489 –> 01:07:54.889
little things that you could do with this but

01:07:54.889 –> 01:07:57.909
like yeah for me i’m torn on which one you watch

01:07:57.909 –> 01:07:59.730
first but i would actually watch a fistful of

01:07:59.730 –> 01:08:02.659
dollars last My thought with watching him in

01:08:02.659 –> 01:08:05.840
order just is more so like, because the first

01:08:05.840 –> 01:08:08.420
one I got a filmmaking standpoint is, is a little

01:08:08.420 –> 01:08:10.519
bit rougher. Like, I don’t know if that would

01:08:10.519 –> 01:08:13.619
be like, Oh wow. It’s like watching, it’s like

01:08:13.619 –> 01:08:15.900
watching a TV show and then like you watch the

01:08:15.900 –> 01:08:19.239
pilot and it’s like, Oh, and it’s like, Oh, the

01:08:19.239 –> 01:08:22.220
show wasn’t nearly as good and good yet. Like,

01:08:22.279 –> 01:08:24.619
right. But, but at the same time, like I said,

01:08:24.680 –> 01:08:27.420
I don’t think the, it’s like the quality is that

01:08:27.420 –> 01:08:29.359
huge of a drop off, but I could certainly see.

01:08:30.270 –> 01:08:33.649
I think I could see the logic in saying it would

01:08:33.649 –> 01:08:36.909
allow for a different narrative experience, like

01:08:36.909 –> 01:08:39.470
you mentioned, because now you do have that character

01:08:39.470 –> 01:08:42.229
later on in life, and you have a better understanding

01:08:42.229 –> 01:08:44.909
of who he is, so maybe those actions have more

01:08:44.909 –> 01:08:47.329
context. So it’d be interesting for sure. But

01:08:47.329 –> 01:08:49.289
none of them technically work like that, because

01:08:49.289 –> 01:08:52.029
he gets a bunch of money in multiple movies,

01:08:52.149 –> 01:08:54.949
and then you just have to, I guess, accept the

01:08:54.949 –> 01:08:56.729
fact that he loses it all in between movies.

01:08:57.989 –> 01:09:00.579
Apparently every time there’s… He made some

01:09:00.579 –> 01:09:02.640
bad investments. He’s not a good investor. He

01:09:02.640 –> 01:09:04.359
gets the money. He doesn’t know what to do with

01:09:04.359 –> 01:09:07.439
it once he gets it, for sure. But it’s definitely

01:09:07.439 –> 01:09:08.920
interesting. And then there’s some interesting

01:09:08.920 –> 01:09:10.760
theories about Lee Van Cleef’s character and

01:09:10.760 –> 01:09:14.939
how those could be connected and actually the

01:09:14.939 –> 01:09:16.399
same character even though there’s really no

01:09:16.399 –> 01:09:19.140
way they could be. But it’s fun. It’s fun reading

01:09:19.140 –> 01:09:22.460
up on people’s theories on what they can do with

01:09:22.460 –> 01:09:25.640
these three films. I would definitely from a…

01:09:25.640 –> 01:09:30.079
I think… for me like i enjoyed for a few dollars

01:09:30.079 –> 01:09:32.539
more the most like i think i would put that like

01:09:32.539 –> 01:09:35.819
on the top of this trilogy um and then i think

01:09:35.819 –> 01:09:37.340
the good and the bad and the ugly for me is just

01:09:37.340 –> 01:09:40.300
just slightly below it not very far just like

01:09:40.300 –> 01:09:43.279
the slightest of edges and then like i said a

01:09:43.279 –> 01:09:44.899
fistful of dollars i probably need to re -watch

01:09:44.899 –> 01:09:46.760
after watching those other two to like get more

01:09:46.760 –> 01:09:48.739
appreciation for but currently it’s kind of at

01:09:48.739 –> 01:09:51.279
the bottom of the three um but i can still see

01:09:51.279 –> 01:09:53.460
like what we started off with like you get why

01:09:53.460 –> 01:09:55.840
these are known you get what impact these had

01:09:55.840 –> 01:09:59.430
on westerns overall which I think was harder

01:09:59.430 –> 01:10:03.029
to see with the John Ford films. I do get the

01:10:03.029 –> 01:10:05.689
influence that the John Ford films had and John

01:10:05.689 –> 01:10:09.149
Wayne’s character and some of that stuff. I don’t

01:10:09.149 –> 01:10:12.250
deny that that influence is there, but I feel

01:10:12.250 –> 01:10:17.750
like this set had even more tangible things.

01:10:18.350 –> 01:10:21.289
You can’t watch these films and not see Tarantino.

01:10:23.279 –> 01:10:28.119
Or other modern westerns. You can tell, not just

01:10:28.119 –> 01:10:30.760
westerns, but modern movies that are totally

01:10:30.760 –> 01:10:33.840
grabbing some of this, whether it be the anti

01:10:33.840 –> 01:10:36.920
-hero, whether it be the violence factor, whether

01:10:36.920 –> 01:10:42.000
it be the close -ups and the extended showdowns,

01:10:42.000 –> 01:10:45.659
and all of that type of stuff. I feel like there’s

01:10:45.659 –> 01:10:50.720
so much coming from these three films that…

01:10:51.069 –> 01:10:53.010
Like, their influence is undeniable, regardless

01:10:53.010 –> 01:10:56.050
of where you land on each individual film. Especially

01:10:56.050 –> 01:10:58.149
the score, like you mentioned. It is, like, every

01:10:58.149 –> 01:11:01.689
score is… Every, like, I feel like Western

01:11:01.689 –> 01:11:05.029
score after this is kind of trying to just emulate

01:11:05.029 –> 01:11:07.850
what comes here. It’s interesting, because, like,

01:11:07.890 –> 01:11:11.489
you have John Ford, and John Ford influences

01:11:11.489 –> 01:11:15.170
Akira Kurosawa in a lot of ways. And then Akira

01:11:15.170 –> 01:11:18.590
Kurosawa influences Leone, and then, like, so

01:11:18.590 –> 01:11:24.220
it’s like… And then, of course, Tarantino and

01:11:24.220 –> 01:11:27.560
Spielberg and everyone after that. So it’s just

01:11:27.560 –> 01:11:30.060
interesting, like, the connections there, because

01:11:30.060 –> 01:11:32.640
it’s like, you know, you have the Western, which

01:11:32.640 –> 01:11:34.899
influences a samurai film, and the samurai film

01:11:34.899 –> 01:11:39.079
influences the Western and that cyclical nature

01:11:39.079 –> 01:11:42.880
of influence. So, but yeah, there is certainly

01:11:42.880 –> 01:11:45.619
more of a direct line, because obviously, when

01:11:45.619 –> 01:11:48.949
you… see like a lot of references to like shootouts

01:11:48.949 –> 01:11:52.829
and like the the the gunplay and stuff like that

01:11:52.829 –> 01:11:56.970
it’s much more like this in this trilogy than

01:11:56.970 –> 01:11:59.029
it is like the john ford films which are more

01:11:59.029 –> 01:12:03.430
like the high and stunts like more like big punches

01:12:03.430 –> 01:12:06.829
and you know more like almost like the type of

01:12:06.829 –> 01:12:09.050
action you would see like in a play character

01:12:09.050 –> 01:12:12.250
like what we get here no i totally agree and

01:12:12.250 –> 01:12:17.039
and and just so We’re completely clear. It seems

01:12:17.039 –> 01:12:19.100
like there is absolutely no consensus on which

01:12:19.100 –> 01:12:20.819
films are better than others in this trilogy.

01:12:21.380 –> 01:12:25.140
Oh, really? If you go to Metacritic, Good and

01:12:25.140 –> 01:12:27.640
Bad and the Ugly is a 90. And then you go to

01:12:27.640 –> 01:12:29.920
For a Few Dollars More is a 74. And then For

01:12:29.920 –> 01:12:32.539
a Fistful of Dollars is 65. If you go to Rotten

01:12:32.539 –> 01:12:34.659
Tomatoes, A Fistful of Dollars is 98. Good and

01:12:34.659 –> 01:12:36.399
Bad and the Ugly is 97. And For a Few Dollars

01:12:36.399 –> 01:12:41.600
More is down to 92. Which surprises me. that

01:12:41.600 –> 01:12:43.239
there’s that much of a gap and for a few dollars

01:12:43.239 –> 01:12:45.300
more is that much lower on rotten tomatoes so

01:12:45.300 –> 01:12:47.220
i feel like every source you go to is going to

01:12:47.220 –> 01:12:49.079
tell you a different version of what order these

01:12:49.079 –> 01:12:52.659
go in i think it’s fun to watch them all together

01:12:52.659 –> 01:12:54.520
though i think that’s like a good experience

01:12:54.520 –> 01:12:57.739
like if you haven’t like i would much more suggest

01:12:57.739 –> 01:12:59.579
somebody watching all three of them versus just

01:12:59.579 –> 01:13:02.420
like one as a one -off yeah it’s just because

01:13:02.420 –> 01:13:04.920
like looking at like the best of lists like the

01:13:04.920 –> 01:13:08.579
on imdb like The Good, the Bad, and the Ugly

01:13:08.579 –> 01:13:11.300
is number 10. Letterboxd is up there as well,

01:13:11.460 –> 01:13:16.600
where A Few Dollars More is up there, too, when

01:13:16.600 –> 01:13:21.260
it’s in the 30s, 40s. I think when it looks just

01:13:21.260 –> 01:13:23.640
in general. It might be the more forgotten one,

01:13:23.699 –> 01:13:25.579
because A Fistful of Dollars is the first one,

01:13:25.680 –> 01:13:27.640
right? You always get more credit for being the

01:13:27.640 –> 01:13:30.100
first one. The Good, the Bad, and the Ugly is

01:13:30.100 –> 01:13:33.020
the most known one, right? It’s got the most

01:13:33.020 –> 01:13:34.800
name recognition. But I feel like For a Few Dollars

01:13:34.800 –> 01:13:37.619
More is the hidden gem in the middle. Yeah, I

01:13:37.619 –> 01:13:41.619
do think it probably is the title I forget the

01:13:41.619 –> 01:13:47.000
most. It is like the middle child syndrome. But

01:13:47.000 –> 01:13:51.159
I think personally, like you said, I think we’re

01:13:51.159 –> 01:13:54.060
in agreement in the sense of looking at which

01:13:54.060 –> 01:13:56.739
one I walk away thinking, which one do I rate

01:13:56.739 –> 01:13:59.460
the highest? It would probably be a few dollars

01:13:59.460 –> 01:14:03.000
more. But I do think watching them in tandem

01:14:03.000 –> 01:14:05.880
is the best way to do it. And then maybe if I

01:14:05.880 –> 01:14:07.600
were ever to rewatch them again, I would try

01:14:07.600 –> 01:14:09.279
a different, I’d go a different way. Maybe it

01:14:09.279 –> 01:14:12.140
would start with, go backwards, start with, you

01:14:12.140 –> 01:14:14.779
know, Badly Ugly. See how it works that way.

01:14:14.819 –> 01:14:16.579
Like if you did it like back to back, like what

01:14:16.579 –> 01:14:19.020
kind of impact it has on like how you view the

01:14:19.020 –> 01:14:20.619
story, it would be kind of interesting. It’s

01:14:20.619 –> 01:14:23.319
like, what’s those movies like? It’s like the

01:14:23.319 –> 01:14:25.619
vantage point thing, right? Like you gotta come

01:14:25.619 –> 01:14:27.819
from a different perspective and see things.

01:14:28.760 –> 01:14:30.619
So like you talked about in the beginning, Dan,

01:14:30.699 –> 01:14:32.880
we have one more Sergio Leone film that we’re

01:14:32.880 –> 01:14:34.810
gonna cover. But we’re going to do something

01:14:34.810 –> 01:14:37.350
else in between that. I just now realized that

01:14:37.350 –> 01:14:41.489
I have seen one Sergio Leone film, but it’s 1984’s

01:14:41.489 –> 01:14:44.390
Once Upon a Time in America. Okay, yeah. That

01:14:44.390 –> 01:14:46.930
I have seen, but I have not seen Once Upon a

01:14:46.930 –> 01:14:48.710
Time in the West. But what are we doing next

01:14:48.710 –> 01:14:51.310
before that? Before that, we’re going to go to,

01:14:51.350 –> 01:14:54.060
speaking of Tarantino, one of… Films that he

01:14:54.060 –> 01:14:58.359
talks about as a huge influence and one that

01:14:58.359 –> 01:15:01.340
he kind of, a film that kind of starts his own

01:15:01.340 –> 01:15:05.340
type of genre within the genre. And that being

01:15:05.340 –> 01:15:09.819
the original Django from 1966 from Sergio Kabashi

01:15:09.819 –> 01:15:15.020
starring Franco Nino. Nero, again, I am bad.

01:15:15.390 –> 01:15:19.649
saying words out loud. Um, but, uh, yeah, we’re

01:15:19.649 –> 01:15:22.369
going to go, I’ve never seen Django. Um, so it’ll

01:15:22.369 –> 01:15:24.430
be the first time watch for me. Um, but it’s

01:15:24.430 –> 01:15:25.930
currently streaming on a number of different

01:15:25.930 –> 01:15:28.949
platforms, including canopy. So if your library

01:15:28.949 –> 01:15:32.229
uses that, you can check it out there, but it’ll

01:15:32.229 –> 01:15:36.170
be a first. This came out in 1966. So obviously

01:15:36.170 –> 01:15:39.989
around the same time, um, obviously as, as this

01:15:39.989 –> 01:15:42.010
did where that spaghetti Westerners really starting

01:15:42.010 –> 01:15:46.529
to establish itself, um, as, um, as its own version

01:15:46.529 –> 01:15:50.050
of the western so curious to see how much of

01:15:50.050 –> 01:15:53.350
what happened what happened with the dollar trilogy

01:15:53.350 –> 01:15:57.510
influences that film and you know how much differs

01:15:57.510 –> 01:15:59.789
and things like that because i really know very

01:15:59.789 –> 01:16:02.130
little about it beyond just you know the poster

01:16:02.130 –> 01:16:04.409
and some some scenes i’ve seen here and there

01:16:04.409 –> 01:16:06.569
yeah it’s going to be a first time watch for

01:16:06.569 –> 01:16:08.170
me another interesting thing the only thing i

01:16:08.170 –> 01:16:10.369
know about this film was just the fact that i

01:16:10.369 –> 01:16:13.989
saw that it was also supposed to be loosely connected

01:16:13.989 –> 01:16:18.909
to or influenced by yojimbo yojimbo um so i don’t

01:16:18.909 –> 01:16:21.329
know we’ll have to see like i feel like we watched

01:16:21.329 –> 01:16:22.850
this one and then we’re gonna have to go back

01:16:22.850 –> 01:16:26.279
and see kurosawa’s film and like do our our whole

01:16:26.279 –> 01:16:28.760
talk about which one does the topic the best

01:16:28.760 –> 01:16:31.439
but i’m definitely intrigued to see this one

01:16:31.439 –> 01:16:33.579
and then to you know go back to once upon a time

01:16:33.579 –> 01:16:35.039
in the west as well i think it’s gonna be an

01:16:35.039 –> 01:16:37.279
interesting way to kind of close out this spaghetti

01:16:37.279 –> 01:16:39.760
western block and kind of excited to see how

01:16:39.760 –> 01:16:41.699
they all fall and what my reaction is to them

01:16:41.699 –> 01:16:43.880
because i know nobody involved in this film like

01:16:43.880 –> 01:16:45.760
the cast wise i’ve never i don’t think i’ve seen

01:16:45.760 –> 01:16:48.920
any of them in anything Well, if you’ve seen

01:16:48.920 –> 01:16:52.300
Django, you’ve seen Franco, because he had a

01:16:52.300 –> 01:16:56.399
cameo in Django. Oh, okay. But he was in the

01:16:56.399 –> 01:17:02.079
one bar when they were fighting. But that’s about

01:17:02.079 –> 01:17:04.920
it. Okay. I did forget to mention, too, that

01:17:04.920 –> 01:17:08.520
that Tuco character, the Eli Wallach from The

01:17:08.520 –> 01:17:11.039
Good, the Bad, and the Ugly, I did recognize

01:17:11.039 –> 01:17:15.000
his credit from The Godfather Part 3, I think

01:17:15.000 –> 01:17:18.159
it is. or one of the godfathers he he plays uh

01:17:18.159 –> 01:17:22.000
don altobello um who’s one of the main antagonists

01:17:22.000 –> 01:17:26.039
i think in the third film in that series so it’s

01:17:26.039 –> 01:17:27.600
interesting that he kind of was involved with

01:17:27.600 –> 01:17:30.920
a another different type of trilogy 20 some 25

01:17:30.920 –> 01:17:35.239
years later so um but yeah so We’ll be covering

01:17:35.239 –> 01:17:37.819
Django from 1966 next. If you want to keep in

01:17:37.819 –> 01:17:40.479
touch or keep in contact with anything Dan or

01:17:40.479 –> 01:17:42.420
myself is doing, you can search Dan out at the

01:17:42.420 –> 01:17:45.359
Comet Concierge or follow him on Letterboxd.

01:17:45.359 –> 01:17:47.699
We should eventually probably put the link in

01:17:47.699 –> 01:17:50.119
one of our show notes or something, make it easier

01:17:50.119 –> 01:17:52.180
on people. I did find out that my Letterboxd

01:17:52.180 –> 01:17:55.020
is actually, I think, my first name in the year

01:17:55.020 –> 01:17:58.180
1981. I don’t think it’s my first and last name.

01:17:58.220 –> 01:18:01.279
I think it’s just Kevin1981. Now you know how

01:18:01.279 –> 01:18:04.659
old I am. But you can follow me on that or you

01:18:04.659 –> 01:18:07.479
can search out Optimus Solo or you can look at

01:18:07.479 –> 01:18:09.979
the Cinema Geeks. You can search us out on different

01:18:09.979 –> 01:18:13.539
social media or thegeekcastradio .com. So that

01:18:13.539 –> 01:18:15.420
does it for this episode. Tune in next time for

01:18:15.420 –> 01:18:17.659
another chance to listen to more of the Cinema

01:18:17.659 –> 01:18:18.020
Geeks.