Un pistolero errante enfrenta a dos familias rivales en una ciudad destrozada por la codicia, el orgullo y la venganza.Un pistolero errante enfrenta a dos familias rivales en una ciudad destrozada por la codicia, el orgullo y la venganza.Un pistolero errante enfrenta a dos familias rivales en una ciudad destrozada por la codicia, el orgullo y la venganza.
- Dirección
- Guionistas
- Elenco
- Premios
- 1 premio ganado y 5 nominaciones en total
Gian Maria Volontè
- Ramón Rojo
- (Italian, English version)
- (as John Wells, Johnny Wels)
Wolfgang Lukschy
- John Baxter
- (as W. Lukschy)
Sieghardt Rupp
- Esteban Rojo
- (as S. Rupp)
Joseph Egger
- Piripero
- (as Joe Edger)
José Calvo
- Silvanito
- (as Jose Calvo)
Margarita Lozano
- Consuelo Baxter
- (as Margherita Lozano)
Daniel Martín
- Julián
- (as Daniel Martin)
Benito Stefanelli
- Rubio
- (as Benny Reeves)
Mario Brega
- Chico
- (as Richard Stuyvesant)
Bruno Carotenuto
- Antonio Baxter
- (as Carol Brown)
Aldo Sambrell
- Rojo gang member
- (as Aldo Sambreli)
Raf Baldassarre
- Juan De Dios
- (sin créditos)
Luis Barboo
- Baxter Gunman 2
- (sin créditos)
Frank Braña
- Baxter Gang Member
- (sin créditos)
José Canalejas
- Rojo Gang Member
- (sin créditos)
Opiniones destacadas
A one man vigilante enters town, proceeds to take four shooters down without a frown, the filling of, a feudal sandwich, allies to both, presents his own pitch, it's not too long before his masterplan is blown. As the barrels start to role and then cascade, cadavers keep the coffin man in trade, the bullets ricochet, will our Joe make his payday, or will the bandits and the smugglers have their say.
It's hard to believe this 1964 western is as engaging as it was when I first watched it as a kid growing up. I've enjoyed its company many times since, as well as that of Yojimbo upon which it was based; the timeless tale of one man doing the right thing, fighting the corrupt and the crooked, just for a fistful of dollars or, in modern parlance, a computer full of crypto - I know which I prefer.
It's hard to believe this 1964 western is as engaging as it was when I first watched it as a kid growing up. I've enjoyed its company many times since, as well as that of Yojimbo upon which it was based; the timeless tale of one man doing the right thing, fighting the corrupt and the crooked, just for a fistful of dollars or, in modern parlance, a computer full of crypto - I know which I prefer.
In the middle '20's, Dashiell Hammett (best known as author of "The Maltese Falcon") wrote'Red Harvest", in which a nameless private eye (also alcoholic, a status shared by many Hammett heroes) is hired to clean up a small town kept in fear by two warring boot-leg mobs.
I believe "Red Harvest" did make it to film in the '30's, but I haven't been able to track that down and never saw it.
In 1961, Akira Kurosawa brought a version of the story to the screen in "Yojimbo', with Toshiro Mifune playing the nameless hero. Kurosawa and Mifune add an earthiness to the hero lacking in Hammett's tension filled original: Mifune's samurai is always scratching, eating, cringing or sneering. Perhaps this is to make up for the subtraction of the element of alcoholism that was the chief weakness of Hammett's anti-hero. But it also has the effect of rounding out the character so that he becomes human to us in a way Hammett's anti-hero is not.
In 1965, an Italian director, not yet credited with completed film, Sergio Leone, was hired to do a typical "spaghetti western" of the era. Instead, he remade 'Yojimbo" (without giving credit to the original, by the way) as "A Fistful of Dollars". The failure to credit "Yojimbo" as inspiration raises some ethical questions - but it must be noted that Kurosawa himself made no reference to Hammett in the credits to "Yojimbo"! In any event, "A Fistful.(...)" is a young director's film, full of flaws; but it has an undeniable black-humor and is crisply directed, with some striking visuals that seem to come out of nowhere, given the genre context in which the film is made. The nameless hero is played with a particular coolness by Clint Eastwood, which undercuts the earthiness- the scratching and scruffiness - that remains from the Mifune version - Eastwood's anti-hero rarely eats, and never cringes or sneers. The pivotal torture scene from Yojimbo remains, given a peculiar brutality by the addition of a pan of the expressionless faces of the onlooking outlaws. This scene - predicated on Eastwood's unwillingness to give up the young family he has saved, is finally what makes him a hero. Is it enough? Well. if not, he's certainly one stinky of a masochist, taking a beating like that for nothing. In a world as corrupt as that in which our hero finds himself, it is the smaller sacrifices that determine the ethics of a man. Remaining silent is sometimes the boldest statement to make; it was good enough for Kurosawa and Leone; it's good enough for me.
e.j. winner
I believe "Red Harvest" did make it to film in the '30's, but I haven't been able to track that down and never saw it.
In 1961, Akira Kurosawa brought a version of the story to the screen in "Yojimbo', with Toshiro Mifune playing the nameless hero. Kurosawa and Mifune add an earthiness to the hero lacking in Hammett's tension filled original: Mifune's samurai is always scratching, eating, cringing or sneering. Perhaps this is to make up for the subtraction of the element of alcoholism that was the chief weakness of Hammett's anti-hero. But it also has the effect of rounding out the character so that he becomes human to us in a way Hammett's anti-hero is not.
In 1965, an Italian director, not yet credited with completed film, Sergio Leone, was hired to do a typical "spaghetti western" of the era. Instead, he remade 'Yojimbo" (without giving credit to the original, by the way) as "A Fistful of Dollars". The failure to credit "Yojimbo" as inspiration raises some ethical questions - but it must be noted that Kurosawa himself made no reference to Hammett in the credits to "Yojimbo"! In any event, "A Fistful.(...)" is a young director's film, full of flaws; but it has an undeniable black-humor and is crisply directed, with some striking visuals that seem to come out of nowhere, given the genre context in which the film is made. The nameless hero is played with a particular coolness by Clint Eastwood, which undercuts the earthiness- the scratching and scruffiness - that remains from the Mifune version - Eastwood's anti-hero rarely eats, and never cringes or sneers. The pivotal torture scene from Yojimbo remains, given a peculiar brutality by the addition of a pan of the expressionless faces of the onlooking outlaws. This scene - predicated on Eastwood's unwillingness to give up the young family he has saved, is finally what makes him a hero. Is it enough? Well. if not, he's certainly one stinky of a masochist, taking a beating like that for nothing. In a world as corrupt as that in which our hero finds himself, it is the smaller sacrifices that determine the ethics of a man. Remaining silent is sometimes the boldest statement to make; it was good enough for Kurosawa and Leone; it's good enough for me.
e.j. winner
Clint Eastwood was best known to American audiences for his role as Rowdy Yates in the series Rawhide. The series had ended and he was offered this strange new and challenging role in this movie of the American West that was made in Italy! Eastwood said his wife read that script and liked it. She said it was really "wild" because it was written in Western "slang" by Italians who really didn't understand English. He did this picture almost as a lark, and then read that it had become one of the biggest hits in Europe and then when it was released in America it outgrossed even the most popular current American films and made Clint Eastwood both a star and a phenomenon. Its strange to me that the best films ever made about the American west should have been made by Sergio Leone, an Italian who couldn't even speak English. Clint Eastwood said that all he knew in Italian was "arrevadershi" and all Leone knew in English was "goodbye" and yet these two combined to make an awesome film. As the poncho clad "Man With No Name", Eastwood created a role that hit us like a punch in the face and really re-defined the definition of the true Western hero. Eastwood tore out pages and pages of the dialogue and reduced his character to the bare bones to make him more mysterious. Leone said that he clad Eastwood in that sweat stained serepe to give him a cloak of mystery and put the cheroot in his mouth as a pendant between his two cold eyes and it worked like a charm. He broke all the rules and re-defined screen violence. I read that Leone wanted to make a blood and guts Western and show to the audience "I want them to feel what the hell it is like to get shot" and he does it! The scene where Clint is beaten to a pulp is one of the most graphic that you will ever see. It would have killed most other men!
A drifter gunman (Clint Eastwood) arrives in the Mexican village of San Miguel in the border of United States of America, and befriends the owner of the local bar Silvanito (Jose Calvo). The stranger discovers that the town is dominated by two gangster lords: John Baxter (W. Lukschy) and the cruel Ramón Rojo (Gian Maria Volontè a.k.a. John Wells). When the stranger kills four men of the Baxter's gang, he is hired by Ramón's brother Esteban Rojo (S. Rupp) to join their gang. However, the stranger plots a scheme working for both sides and playing one side against the other.
"Per un Pugno di Dollari" is a milestone in the history of the cinema, since the genre of "Spaghetti Westerns" didn't really exist previous to this movie. Sergio Leone used the storyline of Akira Kurosawa's "Yojimbo", replacing the samurai without a master ("ronin") Sanjuro Kuwabatake performed by Toshirô Mifune and the scenario of the rural Japanese town in Nineteenth Century by the stranger without a name (Clint Eastwood) and a small Mexican town in the border of the Wild and Far West. The result is a magnificent and remarkable movie, and beginning of the trilogy of Clint Eastwood's character Joe, who proves that "a man with a rifle beats a man with .45", completed by "Per Qualche Dollaro in Più" and "Il Buono, il Brutto, il Cattivo", . My vote is eight.
Title (Brazil): "Por um Punhado de Dólares" ("For a Fistful of Dollars")
"Per un Pugno di Dollari" is a milestone in the history of the cinema, since the genre of "Spaghetti Westerns" didn't really exist previous to this movie. Sergio Leone used the storyline of Akira Kurosawa's "Yojimbo", replacing the samurai without a master ("ronin") Sanjuro Kuwabatake performed by Toshirô Mifune and the scenario of the rural Japanese town in Nineteenth Century by the stranger without a name (Clint Eastwood) and a small Mexican town in the border of the Wild and Far West. The result is a magnificent and remarkable movie, and beginning of the trilogy of Clint Eastwood's character Joe, who proves that "a man with a rifle beats a man with .45", completed by "Per Qualche Dollaro in Più" and "Il Buono, il Brutto, il Cattivo", . My vote is eight.
Title (Brazil): "Por um Punhado de Dólares" ("For a Fistful of Dollars")
'A Fistful Of Dollars' is a wonderful movie which, despite having an enormous following of fans around the world, sometimes gets unfairly dismissed in my opinion. For two reasons - firstly because the second and third movie in Leone/Eastwood "Man With No Name" trilogy ('For A Few Dollars More' and 'The Good, The Bad and The Ugly') are so damn good it's easy to overlook this one. Despite being made on a much tighter budget and being less ambitious than the sequels to follow, it's still one of the greatest westerns ever made in my opinion. The second reason is the Yojimbo thing. Now movie buffs frequently slam 'A Fistful Of Dollars' as being a rip off of Kurosawa's 'Yojimbo', which I think is extremely misleading. I'm not disputing that Leone was familiar with Kurosawa (I have no idea one way or the other), but one name I rarely hear ANYONE mention is Dashiel Hammett. Hammett's hard boiled crime classic 'Red Harvest' was published THIRTY YEARS before 'Yojimbo' and features the same central premise of an anti-hero playing two rival groups off against each other. So if anyone deserves acknowledgement as uncredited inspiration for Leone (AND Kurosawa) it's Hammett. Anyway, this is an absolutely brilliant movie and it launched Clint Eastwood, a popular TV actor, into being a major movie star, and likewise put Sergio Leone on the map. I can't recommend 'A Fistful Of Dollars' highly enough, it's pure entertainment, and very, very cool!
¿Sabías que…?
- TriviaClint Eastwood's contract for Rawhide (1959) prohibited him from making movies in the United States while on break from the series. However, the contract did allow him to accept movie assignments in Europe.
- ErroresWhen the Rojo gang ambush the Mexican army unit the gun Ramon uses to kill all the troops is a Mitrailleuse volley gun. Each barrel had to be laboriously loaded by hand before all barrels were fired together in a single volley. However, the film shows the volley gun being used as a form of machine gun. The only machine gun around at the time was the hand-cranked Gatling gun which the soundtrack also seems to depict.
A volley gun could fire each round individually using a hand crank. However, Ramon clearly has both hands on the (incorrect) twin grips at all times.
- Versiones alternativasThe original British theatrical release had about 4 minutes cut by the BBFC. Many closeup shots of bloodied faces and bodies (including the body of Chico) were removed, as well as a shot of Ramon dripping blood from his mouth. The main cuts, however, were to the beating up of Eastwood, which lost a hand stomping scene, and extensive cuts to the assault on the Baxters' house which was cut to shorten the overall sequence by removing all shots of men on fire, and the shooting of Consuela Baxter. (The cut version removes the shot of her falling backwards.) The 1999 MGM video and DVD releases are fully uncut and the same as the USA DVD release.
- ConexionesFeatured in The Man with No Name (1977)
Selecciones populares
Inicia sesión para calificar y agrega a la lista de videos para obtener recomendaciones personalizadas
- How long is A Fistful of Dollars?Con tecnología de Alexa
- What do the voices chant in the opening theme?
- Is this movie based on a book?
- What is a "spaghetti western"?
Detalles
- Fecha de lanzamiento
- Países de origen
- Idiomas
- También se conoce como
- A Fistful of Dollars
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 200,000 (estimado)
- Total en EE. UU. y Canadá
- USD 14,500,000
- Total a nivel mundial
- USD 14,516,248
- Tiempo de ejecución1 hora 39 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1
Contribuir a esta página
Sugiere una edición o agrega el contenido que falta
Principales brechas de datos
What is the streaming release date of Por un puñado de dólares (1964) in Australia?
Responda