Le Grand Silence

Without a doubt, one of the most overlooked films of all time. Watching THE GREAT SILENCE today, many of today's viewers may find some "cliche'd" scenes, along with some distracting dubbing. But this flick packs much more than one can bargain for.

-Plot: Bounty Hunters are collecting paychecks by snabbing up bandits in late 1880's Utah. A master gunfighter, "Silence", is out to collect dollars by killing those same bounty hunters who prey on the helpless marauders. "But who are the REAL bad guys?" is a question that carries throughout the entire film. As I mentioned before, there may be some moments in this film that seem dated and familiar, but let's focus on the un-familiar.."Silence" is mute, his throat slashed by bounty killers. Not only that, but he ALWAYS draws his gun in self-defense..Never draws first. And instead of arming himself with the traditional .38, "Silence" packs a Mauser C-96 (aka "Broomhandle") drawing fear into those who stand in his way. What else? Well, since Capt. Kirk brought forth headlines by kissing Lt. Uhura on STAR TREK, director Sergio Corbucci goes all out for a full interracial love scene (Unthinkable at the time) . What else?? This bad-boy takes place in the cold, desolated snow-bound hills, where a lot of violent stuff just seems to always happen..In fact, the blood-red violence appears much more graphic than ever in the white-frozen snow. And of course, there's the much-talked-about ending that is bound to slap EVERYONE in the face.

Here, Klaus Kinski proves that he was one of the most intense actors ever to appear in the 20th century. Just watch his movements/expressions during the last climactic scenes. Oh yeah, Ennio Morricone's incredible music is presented through-out. Want more? Please watch this film...If you can get a hold of it!

This is among the very few films that make you truly disgusted by its violence; not because of the amount of blood as in many other films but because the victims of the bounty hunters are human beings, slaughtered brutally in front of their own family members. Corbucci has disguised this film as a piece of popular cinema, but gives us shocks once in a while, and finally surprises us completely in the unexpected end. This is how he makes his anti-violent message very clear, and it is easy to agree with him.

IL GRANDE SILENZIO is more pessimistic but also more human than any western by Leone or Peckinpah. It may not be a pleasant experience, but if you want to see a masterpiece of cinema instead of a traditional western, it is definitely worth waiting in line for.

"That western in the snow" - was my brother's response when he heard that I'd finally tracked down a copy of THE GREAT SILENCE, a.k.a. THE BIG SILENCE (I first saw it 10 years ago on BBC2's 'Moviedrome').

If you like Sergio Leone's films (such as THE GOOD THE BAD AND THE UGLY and A FISTFUL OF DOLLARS) then you'll probably enjoy this film by Sergio Corbucci. Violence, shooting, cussing, strange costumes, haunting music, trademark camera angles and the Italian style go to make up one of the best (lost)westerns I've ever seen.

These films aren't to everyone's taste, but THE GREAT SILENCE is worth watching just to hear the main theme tune which is a fantastic work of latterday composition - it sounds daft but I nearly cry when I hear it sometimes. By turns the score is dream-like, stylish, menacing, bizarre and even ridiculous (twanging sitar-like sounds). This is my favourite piece of Ennio Morricone's music.

As I said before the main reference points for this film are those of Sergio Leone, except for the snow-laden setting and the distinct lack of humour( THE GOOD THE BAD AND THE UGLY still makes me laugh, despite countless watching). Having said that this film has a distinctly original atmosphere of it's own, brought out in the brilliant and shocking ending. the director went to great lengths to preserve his radical finale (particularly unpopular with the producer) - there is a version of the film with a cop-out ending.

In short then, this is a great movie despite all the shortcomings of the particular genre( I'm not saying anything)- I once read that the term "Spaghetti Western" was a derisory one used by American film critics - but I can't think of any American westerns as enjoyable as some of these Italian films.

Sergio Corbucci had me a little fooled at first; from seeing Navajo Joe, the first I'd seen of his films, I thought he was more of a spinster in the comical sense than Sergio Leone was. Although Corbucci doesn't nearly have the level of directorial talent as him (then again who does), there's a level of enthrallment in making a movie, in pushing an in-your-face style that works to his advantage. The Great Silence is pretty far from Navajo Joe, mostly because any laugh to be had is unintentional, or at the expense of star Klaus Kinski if one is already a fan (hearing him dubbed after seeing so many of his Herzog roles is a little staggering). The story boils down to vendettas and paybacks and paydays between scorned bounty hunters and duped sheriffs, plus the title character- named as such because of a mute demeanor and because actor Trintignant didn't want to learn any lines- leading Silence and Loco (albeit this isn't even one of Kinski's craziest performances by far) into a final showdown.

The circumstances leading up to this showdown should, in a more conventional western, be pretty clean-cut. But what's impressive, if almost a little circumstantial, is that Corbucci puts in little unconventional markers along the way: the high-drama scene where Silence gets his hand burnt by a goon as foreshadowing for the ominous bounty hunter massacre, and for those little moments when life seems so easily killed off, particularly at the start. Silence, like in a Leone film, does have something of a gimmick as a killer, as he shoots off the thumbs of his targets. But Corbucci's drama isn't keened on incredible suspense sequences in operatic form or gallows humor. Even a sex scene for Corbucci has a tenderness to it that feels the work of someone trying to break out of squarely B-movie extremities and trying for something more. If it isn't altogether successful it's attributable to flaws scattered around: random 'soft-lighting' in the last act that is very distracting, a couple of plot points not totally clear even by the end, and Kinski looking sometimes like a pretty boy as much as a sadistic bounty hunter, plus Corbucci's tendencies to favor close-ups for more formulaic means as opposed to drawing out deeper emotions through a more keen system.

But even with Corbucci not being a 'great' director, he has a keen eye for Utah (if it is Utah, which it probably isn't), and the vast vistas of snow and fields in a plain sight that contrasts the sort of void sucking the characters in with the hopeless center of bounty hunters without the strongest opponent. And Morricone, as if it was like breathing, fleshes out scenes so well with his beautiful score, only slightly below the magnificence of a Leone picture. You may feel by the end that it's not the prettiest western you've ever seen, but it has that possibility in its low-budget blood-stained manner to stay with you long after it's over.

This French- Italian co-production is a Spaghetti Western masterpiece by Sergio Corbucci , being highly rated by the critics and is one of his best movies, along with ¨the Compañeros¨ and ¨Djanjo¨. It takes place in the snow-filled outdoors of Utah and based on real events during the great Blizzard of 1885 and shot in Cortina D'Ampezzo in the Dolomitas mountains located in the Alps . The film is plenty of dark fatalism and features to Silence (Jean Louis Trintignant in his first and unique Western , he had agreed to do the film in order to help out the producer, who was a friend of his), a mute gunslinger with a 7,63 mm Mauser Broomhandle gun , helping a group of desperado outlaws and an African- American woman named Pauline (Voneta McGee) attempting to revenge death her husband against the bounty hunters led by the ruthless Loco (Klaus Kinski) and payed by Pollicut (Luigi Pistilli) . Furthermore, an upright sheriff (Frank Wolff) appears trying peace and order.

This widely deemed picture , unlike most conventional Spaghetti Western , contains exceptional setting , colorful images with a sensational cinematography by Silvano Ippoliti and features a sensitive musical score by the classic Ennio Morricone . This splendid Western results to be a remake to Japanese Samurai TV series starring Shintarô Katsu (1973) . Jean-Louis Trintignant agreed to play in a spaghetti western under the condition that he did not have to learn any lines for the role , that's why the main character conveniently became a mute in the story. Nice production design and the snow in the town of Snow Hill was created by gallons of shaving cream . The movie was widely inspired by ¨Day of outlaw¨ (Andre de Toth with Robert Ryan , 1959) and set in 1898 in a small town called Snow Hill where is developed a massacre . The motion picture was originally directed by Corbucci and displays a twisted finale with dark surprise included . As trivia, explaining that Trintignant didn't know English , language used during filming , and Marcello Mastroiani, Sergio Corbucci's friend , suggested him playing a mute gunfighter named Silence , resulting to be the film title . Rating : Better than average . Indispensable and essential seeing for SW lovers.