Ein geheimnisvoller Fremder mit einer Mundharmonika tut sich mit einem berüchtigten Desperado zusammen, um eine wunderschöne Witwe vor einem gnadenlosen Killer zu schützen, der für die Eisen... Alles lesenEin geheimnisvoller Fremder mit einer Mundharmonika tut sich mit einem berüchtigten Desperado zusammen, um eine wunderschöne Witwe vor einem gnadenlosen Killer zu schützen, der für die Eisenbahngesellschaft arbeitet.Ein geheimnisvoller Fremder mit einer Mundharmonika tut sich mit einem berüchtigten Desperado zusammen, um eine wunderschöne Witwe vor einem gnadenlosen Killer zu schützen, der für die Eisenbahngesellschaft arbeitet.
- Auszeichnungen
- 6 Gewinne & 5 Nominierungen insgesamt
Livio Andronico
- Bit part
- (Nicht genannt)
Salvatore Basile
- Member of Cheyenne's Gang
- (Nicht genannt)
Aldo Berti
- Member of Frank's Gang Playing Poker
- (Nicht genannt)
Regina Elena Bisio
- Old Woman in the Tavern
- (Nicht genannt)
Joseph Bradley
- Train Station Master
- (Nicht genannt)
Frank Braña
- Member of Frank's Gang Smoking Pipe at Auction
- (Nicht genannt)
Marilù Carteny
- Mourner at Brett McBain's Funeral
- (Nicht genannt)
Zusammenfassung
Reviewers say 'Once Upon a Time in the West' is acclaimed for Sergio Leone's masterful direction, stunning landscapes, and Ennio Morricone's iconic score. Strong performances by Henry Fonda, Charles Bronson, and Claudia Cardinale are highlighted. The film's slow-burning intensity, moral ambiguity, and unforgettable characters cement its status as a classic. Despite some critiques on pacing and length, its artistic depth, complex storytelling, and influence on the Western genre are widely recognized.
Empfohlene Bewertungen
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.
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/
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/
To watch this again after so many years and after so much has changed in movie making, what a joy. The intro scene itself is a work of cinematic genius. Too bad most these days don't have the patience or appreciation for the plot making and cinematography these days. If you appreciate excellent camera work, scene making and soundtrack working together, I can't imagine you would be disappointed in this movie.
10daniken
I can't quite find the words to even come close to describing the pure brilliance of this movie. When this movie was made, the western genre was dominated by the big hollywood studios. The western was taken by these studios and transformed into an opportunity to portray classic superheroes like John Wayne and Burt Lancaster in their fight against all sorts of smalltime crooks and outlaws in smalltime stories and smalltime towns. It was a genuine effort to portray 'Americanism', the American Way, along with a romanticised view of the west as 'Frontier country' where good always triumphed over bad and where the life was hard but honest. It was the American Way.
And then came this film. The title, 'Once Upon A Time In The West' must have seemed to mean nothing more than 'just another western' to the unexpecting viewers at the time. Oh boy were they wrong. With this movie, Sergio Leone singlehandedly redefined the western genre and no American western would ever match the brilliant spirit in which it was made. While the story is basically the same as in any other western, it is the WAY in which it is presented that so clearly distances this western from others. Whereas other westerns are simply stories that are designed to entertain, this movie is an emotional masterpiece that will move your heart. Sergio Leone takes the ordinary western and replaces words with looks, and conversations with feelings and emotions. With his brutal but honest portrayal of the sheer hardness of life and death in those times he thoroughly destroys the old romantic idea of the west as a 'generally-hunky-dory-kind-of-scene with the occasional bad guy and indian' and replaces it with an eerie, dark, hot and dry place where life is cheap and only the strongest will survive.
I cannot adequately convey in words the way in which Sergio Leone deepens and defines the characters by pure means of visual persuasion. It starts with the three gunman in the beginning of the movie, waiting for some reason at a train station for someone or something that obviously is going to be on the next train. No explanation, no conversation; not a word is said. Even the stationmaster is ushered into captivity without a single audible threat. Then comes the waiting... Any other director would have skipped directly to the moment of arrival, but Sergio Leone takes minutes of boredom and translates it into a visual feast, deepening the characters that are portrayed and making them more human, more real to the viewer, while at the same time encompassing us with a deep dark sense of foreboding. This way in which the story is not just augmented but in times completely replaced by the sheer visual drama, is perfected by the absolute fantastic music, directed by Ennio Morricone. Who needs words and explanations when the combined forces of cinematic mastery and heart-tearing music are not just able to carry the story, but pick it up and push it up to such heights of excellence that it has no equal in it's genre?
Another great feat that adds to the power of this movie is the minimalistic way of portrayal of the characters as real, emotional people. Not a single word is said that isn't required for the understanding of the story, yet the characters feel more true than those in movies where whole conversations are added merely to explain their motives. Instead of words, the camera focuses on the characters...so that you can simply read the emotion off their faces. Often no explanation is given other than than a mere facial expression. No superheroes or supercriminals, just real, desire-laden, traumatised, obsessed people that act upon motives inherently understood by the viewer.
All in all this is without a single doubt in my mind the greatest western of all times, and even though Sergio Leone has made many more mindblowing, heart-shattering westerns like this one, like 'A Fistful of Dynamite', 'The Good The Bad and The Ugly', and 'For a Few Dollars More', none could equal 'Once Upon A Time In The West' in sheer magnitude of perfection. Western has never been the same since....
I only wish I'd have been there in 1969 when the movie was new and see it, for the first time with fresh innocent eyes and an unexpecting mind..just like 2001: A Space Odyssey (also of 1969, a year of legends).
A tip for those who have never seen this movie: Bribe, beg, borrow, or steal yourself into possession of a Videobeam and Hifi-audio equipment if you can't find a cinema that is showing this movie. Turn the audio up WAY HIGH (never mind the neighbors) and prepare never to be the same again.........
I (obviously) gave this movie a 10 because no matter how hard I try I can't find anything less than perfect about it.
And then came this film. The title, 'Once Upon A Time In The West' must have seemed to mean nothing more than 'just another western' to the unexpecting viewers at the time. Oh boy were they wrong. With this movie, Sergio Leone singlehandedly redefined the western genre and no American western would ever match the brilliant spirit in which it was made. While the story is basically the same as in any other western, it is the WAY in which it is presented that so clearly distances this western from others. Whereas other westerns are simply stories that are designed to entertain, this movie is an emotional masterpiece that will move your heart. Sergio Leone takes the ordinary western and replaces words with looks, and conversations with feelings and emotions. With his brutal but honest portrayal of the sheer hardness of life and death in those times he thoroughly destroys the old romantic idea of the west as a 'generally-hunky-dory-kind-of-scene with the occasional bad guy and indian' and replaces it with an eerie, dark, hot and dry place where life is cheap and only the strongest will survive.
I cannot adequately convey in words the way in which Sergio Leone deepens and defines the characters by pure means of visual persuasion. It starts with the three gunman in the beginning of the movie, waiting for some reason at a train station for someone or something that obviously is going to be on the next train. No explanation, no conversation; not a word is said. Even the stationmaster is ushered into captivity without a single audible threat. Then comes the waiting... Any other director would have skipped directly to the moment of arrival, but Sergio Leone takes minutes of boredom and translates it into a visual feast, deepening the characters that are portrayed and making them more human, more real to the viewer, while at the same time encompassing us with a deep dark sense of foreboding. This way in which the story is not just augmented but in times completely replaced by the sheer visual drama, is perfected by the absolute fantastic music, directed by Ennio Morricone. Who needs words and explanations when the combined forces of cinematic mastery and heart-tearing music are not just able to carry the story, but pick it up and push it up to such heights of excellence that it has no equal in it's genre?
Another great feat that adds to the power of this movie is the minimalistic way of portrayal of the characters as real, emotional people. Not a single word is said that isn't required for the understanding of the story, yet the characters feel more true than those in movies where whole conversations are added merely to explain their motives. Instead of words, the camera focuses on the characters...so that you can simply read the emotion off their faces. Often no explanation is given other than than a mere facial expression. No superheroes or supercriminals, just real, desire-laden, traumatised, obsessed people that act upon motives inherently understood by the viewer.
All in all this is without a single doubt in my mind the greatest western of all times, and even though Sergio Leone has made many more mindblowing, heart-shattering westerns like this one, like 'A Fistful of Dynamite', 'The Good The Bad and The Ugly', and 'For a Few Dollars More', none could equal 'Once Upon A Time In The West' in sheer magnitude of perfection. Western has never been the same since....
I only wish I'd have been there in 1969 when the movie was new and see it, for the first time with fresh innocent eyes and an unexpecting mind..just like 2001: A Space Odyssey (also of 1969, a year of legends).
A tip for those who have never seen this movie: Bribe, beg, borrow, or steal yourself into possession of a Videobeam and Hifi-audio equipment if you can't find a cinema that is showing this movie. Turn the audio up WAY HIGH (never mind the neighbors) and prepare never to be the same again.........
I (obviously) gave this movie a 10 because no matter how hard I try I can't find anything less than perfect about it.
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.
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.
Wusstest du schon
- WissenswertesHenry Fonda originally turned down the role of Frank. Director Sergio Leone flew to the United States and met with Fonda, who asked why he was wanted for the film. Leone replied, "Picture this: the camera shows a gunman from the waist down pulling his gun and shooting a running child. The camera pans up to the gunman's face and...it's Henry Fonda" (until then, with one exception, Fonda had only been cast in "good guy" roles. Leone wanted the audience to be shocked).
- PatzerAs Frank and his gang ride away from the train, tire tracks are visible in the dirt.
- Crazy CreditsThe opening credits appear over the three gunmen waiting at the train station.
The film title itself appears at the end of the film.
- Alternative VersionenFrank's line upon giving Harmonica his namesake varies from version to version. The Italian translates to "play something for your brother," but the most common English version is "keep your loving brother happy," and the German translates to "play me the song of death." The German movie title was inspired by this line.
- VerbindungenEdited into The Clock (2010)
- SoundtracksDanny Boy
(1913) (uncredited)
Written by by Frederick Edward Weatherly
Hummed and sung a cappella a bit by Simonetta Santaniello
Top-Auswahl
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- 5.000.000 $ (geschätzt)
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- 5.321.508 $
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- 5.435.312 $
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What is the streaming release date of Spiel mir das Lied vom Tod (1968) in Spain?
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