Por Um Punhado de Dólares

The epitome of the S.W. is violent , beautifully crafted and exaggerated . This was the first S.W. to receive a major international release . It is a remake of Yojimbo (1961), which itself was based on 1929 novel "Red Harvest" by Dashiell Hammett . It pits ¨Man with no name¨ against two families that are feuding over business : the Baxter (Wolfgang Lukschy , Margarita Lozano) and the Rojo (Gian Maria Volonte , Antonio Pietro , Sieghardt Rupp) . Meanwhile , Eastwood saves a damsel in distress (Marianne Koch) , her husband (Daniel Martin) and son . ¨Man with no name¨ is helped by Silvanito (José Calvo) and an old gravedigger , Piripero (Joseph Egger).

This classic Western contains slow and deliberating filming , elaborate shoot-outs , and portentous close-ups of grime-encrustred faces with bloodbaths included . A remake to Yojimbo by Akira Kurosawa , in fact he sued the filmmakers for breach of copyright . The impact of this Spaghetti opened the gate for the huge numbers of Italian-Spanish Western which made fortune for their producers and directors in the sixties and early seventies . This has been described as the first "spaghetti western", but when this film was made , there had already been about 25 such westerns produced in Italy . This one made Eastwood an international star and previously better-known for his running character in TV series ¨Rawhide¨. Leone did revive his career almost instantly on the strength of this film , though the role was formerly offered to Charles Bronson , Frank Wolff , Rory Calhoun , Steve Reeves and Richard Harrison . In fact , Richard Harrison was the one who suggested Clint Eastwood to Sergio Leone when the famed director was looking for the main actor , as Harrison said : Maybe my greatest contribution to cinema was not doing Fistful of Dollars , and recommending Clint for the part . Leone came to the set of ¨Rawhide¨ intending to recruit Eric Fleming for the lead in the upcoming "A Fistful of Dollars" , due to Fleming's off putting personality, Leone looked elsewhere , director Charles Marquis Warren suggested Eastwood as an alternative . As all of Eastwood's later Western and his ¨Dirty Harry¨ movies owe a considerable debt to Leone . Furthermore , here appears Leone's habitual secondaries , acting as ominous hoodlums , such as : Mario Brega , Aldo Sambrell , Antonio Molino Rojo , Lorenzo Robledo , Jose Canalejas , Frank Braña , among them.

It's a slick remake of Akira Kurosawa's Yojimbo , the plot is mainly ripped off from classic Japanese , as Kurosawa wrote to Leone reclaiming the copyright . Ultimatelly , the Toho (Yojimbo's producer) obtained the rights of exhibition and received 15% of the film's worldwide gross and exclusive distribution rights for Asian countries . ¨Fistful of dollars¨ was filmed in low-budget during seven weeks on location in Golden City (Sierra of Madrid) , and Almeria : Albaricoques and Tabernas ; besides , interiors located on Roman Cinecitta studios . In the premiere the main cast and technicians were replaced by American names as John Welles (Gian Maria Volonte) , master of arms Benny Reeves (Benito Stefanelli), Dan Savio (Ennio Morricone who composed a groundbreaking and streaking soundtrack) , designer production by Charles Simons (Carlo Simi) and even Bob Robertson (Sergio Leone) ; nowadays , justly stay the true names . For Leone enthusiastic with his usual trademarks , it's full of which made his films so memorable, others might find it a bit long but no one can deny its sense of style what achieved a great burst of world-wide popularity .

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.

'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!

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!

When Per un pungo di dollari, or A Fistful Of Dollars, was released in the mid-1960s, the term "Spaghetti Western" was coined as a putdown to these brazen new films that dared to recreate the Wild West in a place as far away as Italy. However, the last laugh was shared by the Italian directors, whose new style of portraying Colonial America in a realistic style rather than the romanticised way that was characteristic of John Wayne and his contemporaries will be remembered long after the films of the romanticised style are no more.

The plot is indescribably simple, as Clint Eastwood simply wanders into a town where gang warfare has stripped the economy to the point where only the local undertaker makes a profit and turns the two warring families against one another. Sergio Leone's best-known trademark, his dynamic use of widescreen ratios, comes to the fore here as Clint shares a film frame with no less than four of his enemies, all of whom have plenty to say to him and vice versa. This is one film where a pan and scan transfer is purely and simply vandalism. Some of the dialogue that is included here absolutely takes the cake for cleverness and wit, too. Asking four gunslingers to apologise to a horse, well, if it wasn't a man as famous for playing a gunslinger as Clint Eastwood, it'd be ridiculous.

Transplanting old Samurai legends into the Wild West works well, as you can see here. Simply having an old mercenary who travels the land in search of wrongs to right and battles to be fought makes the story a lot more compelling than the Westerns where we are told every iota of the characters' motivations in the hope that it will give them some depth. The element of the main hero not getting involved in every scuffle that the bad guys cause, our semi-nameless hero's ignoring a drunken thug shooting at a little boy being the most obvious example, was another master stroke, one that got Eastwood involved in doing the film to begin with. The confrontation at the end of the film works well, too, with pyrotechnics exploding all over the picture in a bright display that keeps the film powerful and yet focused at the same time.

All in all, Per un pungo di dollari gets nine out of ten from me. The lack of any interesting support characters does dull the story a little, but this mistake was quickly rectified in the two sequels. The addition of Lee Van Cleef also worked well, but in this effort, it's all Clint Eastwood, and while the rest of the cast are nowhere near as interesting, it's all a better watch than anything the Americans were lumping out at the time.