Spiel mir das Lied vom Tod

This one only gets better with each viewing. Leone's masterful storytelling and Morricone's crazy, beautiful, epic soundtrack; desperate, haunted faces which look like the barren landscapes the story is set in and a plot that unfolds with impeccable pacing to culminate in THE ultimate western finale.

As in Leone's previous films, music isn't just used to add to the atmosphere but is essential to the story, or perhaps even more: Morricone's main musical theme plays the actual role of a (or rather: the) protagonist in the film.

Anyone who thought that the so called "Spaghetti westerns" were nothing but cheap, violent B-movies had to reconsider after seeing this film. It doesn't get any better than this: this is movie history; iconic, classic, unforgettable, epic. For this film, I just run out of superlatives.

My vote: 10 out of 10

Favorite films: http://www.IMDb.com/list/mkjOKvqlSBs/

Lesser-known Masterpieces: http://www.imdb.com/list/ls070242495/

Favorite Low-Budget and B-movies: http://www.imdb.com/list/ls054808375/

Favorite TV-Shows reviewed: http://www.imdb.com/list/ls075552387/

I won't go into the story, but it's true, I never tire of this movie---At first i thought Charles Bronson wouldn't be able to keep up with acting heavyweights Henry Fonda and Jason Robards, but Bronson's physical abilities, combined with his minimalist close-ups practically steal the show---His goodness came through in the close-ups toward the movie's end, I thought it was Charles Bronson's greatest screen work.

Thank god that I'm a Bronson fan. This was my first Leone movie, and dumb kid that I was, I actually watched it thinking I was in for a typical Bronson "vehicle"! Looking back I'm thankful, because if it wasn't for his involvement, I would never have discovered the beauty and majesty that is Once Upon a Time in the West.

I absolutely love this movie. It's probably my all time favourite, certainly one of the few that I can watch OVER and OVER again without losing interest. I love the way Leone creates intrigue and mystery around what is a relatively thin plot. He can make even the smallest twist of fate seem like an epic turn of events, with that amazing sense of revelation that he generates out of old hackneyed situations (something Argento has since picked up). Leone proves in this film that he could seemingly take anyone, even peripheral characters, and give them screen charisma without using dialogue as a crutch.

OUATITW features the most tense two man stand-offs ever, with some serious deja-vu in the direction of his "Dollars" trilogy. In fact, it does feel like those three movies were warm ups, practice sessions in the build up to OUATITW. Here though, he perfected everything; despite the long running time, it's all focused, and without a single irrelevant scene. For me, the two hours plus just fly by, I wish it would never end. Leone was without question at his artistic peak when he made this, that's not to say that he went downhill from then on, but I honestly don't think he ever did another film where everything came together so perfectly.

The cast is flawless. Fonda eclipsed every good guy he ever did in one fell swoop, truly chilling. Robards is a great comic character, the lovable rogue with an edge. And Cardinale is more than just (incredible) window dressing; she switches between passionate, angry, delicate and sentimental at all the right moments.

Which leaves the hero; I'm a huge Eastwood fan, but I honestly don't believe he could have done the role justice. His "man with no name" was a cool, sly character with hidden complexities. Eastwood always does these layered personalities, with some kind of mental baggage. Bronson, on the other hand, mostly does himself; simple, uncomplicated figures with only one state of mind, that's why he's put in so many revenge flicks. Plus, he looks like he's been seriously wronged at some point in his life, Eastwood doesn't have that quality. Bronson is the genuine hard-as-nails article. You can readily imagine that, had he been born decades earlier and been put in the same situation, he would resolve the problem in much the same way as his character in the movie (sometimes I affectionately refer to this movie as Deathwish part 0- could Harmonica be the great granddaddy of Paul Kersey?).

Of course the other great contribution is the music. I still think that the main theme is one of the most breathtaking pieces of music I have ever heard. It affects me deeply whenever I hear it, regardless of the mood I'm in. Maybe I should listen to more opera or something, I don't know, but that's the way I feel. And the individual character themes are just so well integrated into the film, it's unbelievable. Leone replaces words with music, and it conveys so much more in return. Bronson just plays that melancholy tune on the harmonica instead of answering people back, it consistently cracks me up.

High Noon, Naked Spur, Shane, The Searchers, etc. are all classics of the genre, but I really don't think it's possible to compare those "traditional" westerns with OUATITW. For me, it exists on a plane of it's own, it's the kind of film experience that you let wash over you, a waking dream. I recommend this movie to anyone, if you're on the right wavelength you'll be greatly rewarded.

It's hard to believe this movie is from 1968. Very modern way of filming for the time. Sergio Leone gave time to each scene... something that new directors seem afraid to do... Great story about the last days of an era. Amazing music and the originality of linking a specific melody to each main character. And all these close-up to character's eyes... Just a wonderful movie.

In the annals of western film lore, there are good and bad films. This is one of the finest. Because "Once Upon A Time in The West" is such a remarkable film, it is hard to define what makes it so memorable. The story centers on a beautiful former prostitute called Jill McBain (Claudia Cardinale) who arrives to assume the role of wife to a stubborn, crazy, red-headed Irishman with a dream. Waiting, instead is tragedy and 'Mr. Morton' who is a powerful, but ailing land grabbing baron (Gabriele Ferzetti) who desires to crush everything and everyone who stands in his way to reach the Pacific ocean with his railroad. To help him is an equally ruthless gunfighter named Frank (Henry Fonda; the success of this movie owes much to Fonda who plays a very convincing heavy) who has been removing obstacles for years and now targets the McBain family for death and that includes Jill. Unfortunately for Frank, he has accrued many enemies over the years with one particular, mysterious and deadly Harmonica playing stranger seeking revenge. Frank arranges for three of his best and fastest gun hands to meet and eliminate the stranger at the train-station. Joining the instrument playing stranger is an unpredictable, half-breed, renegade, who is a notorious gunfighter called 'Cheyenne.' ( Jason Robards ) The entire film is a triumph to the superb direction of Sergio Leone, who christens each major character with their own theme song. Each theme was created by Ennio Morricone and when the character makes an entrance, the theme prepares the audience for mood change, drama, action, and lifelong memories. Special guest appearances, by Woody Strode, Jack Elam, Keenan Wynn and Lionel Stander add to the classic nature of this excellent story. ****