Il était une fois dans l'Ouest

In full silence, three mysterious men in long trench coats wait in a remote train station. Their faces have anticipation written all over them, even while the most interesting things they can find to do are toying with a fly, drinking water from a hat and cracking their fingers. A dog runs past. The windmill squeaks. The ticket vendor is locked away. The heath bounces off the wooden platform. The men sweat.

Are you bored yet? Then this movie is probably not for you.

But are you dying to know what the three men are waiting for? Does a light anxiety creep onto you whilst reading that description? Can't you wait for the tension to resolve? Then this movie is all you ever wanted.

The almost lawless world where outlaws and bandits roam the country with ease that is the setting of the story, is shown by Tonino Delli Colli (director of photography) in all its splendorous grandeur and it's uncountable little details. The set pieces, the costumes and the real life locations in Arizona and Utah make everything believable. And together with the characters and figurants, everything creates a vibrant and utterly believable Western civilisation.

Charles Bronson plays the man with the harmonica: a lone wolf looking for something that he chooses not to reveal to anyone until he gets it. A character with no name roaming the endless fields under the sun, announcing his presence at all times with the same melody he plays on his harmonica that echo's in an unsettling way. Bronson does this brilliantly, with a face that overflows with held back emotions and a determination that is downright scary.

In a tavern the man meets Manuel 'Cheyenne' Gutiérrez (Jason Robards), a bandit that recently escaped being hung by the neck, re-joining his band of outlaws. With already greying hair, he takes on the situation that arises in the area, trying his part to be the hero that saves the day. Robards portrays a character that, by only one look at him, we can see how the years have shaped him. His performance is outstanding; we want to grab a drink with Cheyenne, but we also get the feeling that being on your guard around him wouldn't be an overrated luxury.

The 'damsel in distress' (although she isn't in the original meaning of the word) Jill McBain (played by Claudia Cardinale) turns into a toy of Fate itself. Without any warning she gets involved in something quite over her head, but she handles it masterfully; she refuses to return to New Orleans with her tail between her legs and stays to face the difficulties put before her. Cardinale playing Jill is both an erotic marvel and a woman you wouldn't want to cross.

They are all opposed by Frank (Henry Fonda): the local gang leader with a heart of stone and a business proposal at the ready at all times. With his ruthless blue eyes and his gun at the ready he keeps the town quiet. Fonda gives you the creeps with just one gaze at the camera and every sentence leaves the bitter taste of malfeasance.

And finally, Gabriele Ferzetti finishes the line of main characters with his deliciously sickening portrayal of the crippled railroad baron Morton. A character that you'd like to slap in the face, but one you feel pity for as well. Outstandingly brought!

The soundtrack is composed by the never beaten maestro of film scoring himself: Ennio Morricone. His genius lies in the creation of themes and melodies that will haunt your dreams forever for better or worse. The melancholic main theme that is brought with a heavenly choir draws tears from your eyes after hearing only a couple of chords. The theme of the man with the harmonica is as unsettling as it is epic and Cheyennes' theme creates the lighter counter points in the movie. Morricone uses these motifs ingeniously, hinting at plot points, character motifs and feelings and giving you a sense of the world the movie takes place in. If I could give twelve out of ten stars for the score, I'd do it.

Sergio Leone was a masterful director, no need to prove that. He manages to turn even a scene of seven minutes, where three men are merely waiting for a train, into an epic storyline. Two hours and three quarters the tension builds and then resolves... partially, always building towards the end. And that finale! That finale! That finale chilled me to the bone! Throughout the film, question after question is raised, and when one question is answered, another one pops up. So when all pieces of the puzzle fall into place to the score of Ennio Morricone, how can one not be moved by it?

For Leone, there was no better way to reach the top of the Western genre.

And for us, there never will be a film that is more Western than 'Once Upon a Time in the West'.

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.

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.

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/