Doll Ant (Italian: Per un pugno in dollari , titled on a screen like < i> Fistful of Dollars is a 1964 Spaghetti Western film directed by Sergio Leone and starring Clint Eastwood in his first lead role, with Gian Maria VolontÃÆ'¨, Marianne Koch, Wolfgang Lukschy, Sieghardt Rupp , JosÃÆ'Â © Calvo, Antonio Prieto, and Joseph Egger. The film, an international joint production between Italy, West Germany, and Spain, was filmed on a low budget (reported $ 200,000), and Eastwood paid $ 15,000 for his role.
Released in Italy in 1964 and later in the United States in 1967, he initiated the popularity of the Western Spaghetti genre. This was followed by For Several More Dollars and The Good, the Bad and the Bad, also starring Eastwood. Collectively, these films are known as "Trilogy Dollars", or "The Man with No Name Trilogy". The three films were subsequently released sequentially in the United States in 1967, catapulting Eastwood into stars. The film has been identified as an unofficial remake of the Akira Kurosawa movie Yojimbo (1961), which produced a successful lawsuit by Toho, the production company Yojimbo . In the United States, United Artists publicity campaign refers to Eastwood characters in all three films as "Anonymous Man".
Since some Western Spaghetti have not been released in the United States, many European players and crew take on stage names that are heard in America. These include Leone himself ("Bob Robertson"), Gian Maria VolontÃÆ'¨ ("Johnny Wels"), and composer Ennio Morricone ("Dan Savio"). A Fistful of Dollars was shot in Spain, mostly near Hoyo de Manzanares close to Madrid, but also (like two sequels) in the Tabernas Desert and in the Cabo de Gata-NÃÆ'jar Nature Park, both in the province of Almeria.
Video A Fistful of Dollars
Plot
The stranger arrived in the small town of San Miguel. Silvanito, the innkeeper in the city, told the Stranger about the feud between two families vying to take control of the city: Rojo's brothers: Don, Esteban and RamÃÆ'³n and the town's sheriff's chief John Baxter. The Foreigner decided to play each family against the others to earn money, and prove his speed and accuracy with his weapon to both sides by shooting easily the four who insulted him as he entered the city.
The Foreigner seized his chance when he saw the Rojos massacre, the detachment of Mexican soldiers guarding gold shipments. He brought two bodies to the nearest grave and sold information to both sides, saying that two Mexican soldiers survived the attack. Both sides race to the cemetery; the Baxter to get "the survivors" to testify against Rojos, and Rojos to silence them. The faction was involved in the shootout, with RamÃÆ'³n managing to "kill" the "survivors" and Esteban capture the son of John Baxter, Antonio.
While Rojos and Baxter fight, Strangers look for Rojo hacienda for gold. As she was searching, she accidentally dropped a woman, Marisol. He took it to Baxters, who, in turn, arranged to return it to Rojos instead of Antonio. During the exchange, Marisol's son, JesÃÆ'ºs, ran towards him, followed by her husband, Julio. While the family hugged, Ramon ordered one of his men, Rubio, to kill her husband because he had told her to leave town. Silvanito tried to protect the family with a rifle with a stranger supporting him. Neither RamÃÆ'³n nor his men were trying to challenge the Stranger, knowing that he was too fast on the raffle.
The Foreigner then tells Marisol to go to Ram³n and to Julio to take Jesús home. He learned from Silvanito that RamÃÆ'³n had trapped Julio for having an affair during a card game and took Marisol as his prisoner, forcing him to stay with him. That night, as Rojos celebrates, the Stranger rises and frees Marisol, shoots the guards and destroys the house where he is held, making him look as if he was attacked by Baxters. He gave Marisol some money and told his family to leave town. When Rojos discovers that he freed Marisol, they arrested him and tortured him, but he escaped. Believe the Stranger must be protected by Baxter, Rojos burned Baxter's house and massacred the whole family when they ran out of burning buildings. Ramon killed John Baxter and Antonio after pretending to forgive them. Consuelo, John Baxter's wife, appears and cursed Rojos for killing his unarmed husband and son. He was later shot and killed by Esteban.
With the help of Piripero, the local coffin maker, the stranger escaped from the city by hiding in a coffin. The Foreigner hides and recovers at the nearest mine. When Piripero tells him that Silvanito has been arrested, the Foreigner returns to the city to face Rojos. With a steel chest plunger hidden beneath his poncho, he mocked RamÃÆ'³n to "shoot the heart" as Ramen's shot bounced. Panicked, RamÃÆ'³n used all the bullets in his Winchester. The Stranger fired a shotgun from RamÃÆ'³n's hands and killed another Rojos standing nearby, including Don Miguel and Rubio. He then uses the last bullet in his weapon to free Silvanito, tied hanging from a post. After challenging RamÃÆ'³n to refill his rifle faster than he can refill his own gun, the Stranger shot and killed RamÃÆ'³n. Esteban Rojo aims to return a Stranger from a nearby building, but was shot dead by Silvanito. The Foreigner said goodbye and went away from the city.
Maps A Fistful of Dollars
Cast
Development
A Fistful of Dollars was originally intended by Leone to rediscover the western genre in Italy. In his opinion, western America from the mid to late 1950s has become stagnant, overly preachy and untrustworthy. Despite the fact that even Hollywood began to reduce the production of such films, Leone knew that there was still a significant market in Europe for the western. He observed that Italian audiences laughed at the share conventions of both western States and the pastiche works of Italian directors working behind a pseudonym. The approach is to take the grammar of an Italian film and transform it into a western setting.
Eastwood is not the first actor to approach to play the main character. Initially, Sergio Leone intended Henry Fonda to play "Man with No Name." However, production companies can not afford to hire big Hollywood stars. Furthermore, Leone offers Charles Bronson his share. He also refused, arguing that the script was bad. Both Fonda and Bronson will star in Leone Once Upon a Time in the West (1968). Other actors who changed the role were Henry Silva, Rory Calhoun, Tony Russell, Steve Reeves, Ty Hardin, and James Coburn. Leone then turned his attention to Richard Harrison, an expatriate American actor who recently starred in the first western Italian, Duello nel Texas. Harrison, however, was not impressed with his experience on previous films and refused. The producers then presented a list of lesser-known American actors and asked Harrison for advice. Harrison suggested Eastwood, which he knew could play cowboys convincingly. Harrison later stated, "Perhaps my biggest contribution to the cinema is not doing A Fistful of Dollars and recommending Clint for that section." Eastwood then talks about the transition from western television to A Fistful of Dollars: In Rawhide I am very tired of playing conventional white hat... a hero who kisses women and old dogs and good to everyone, I decided it was time to become an anti-hero. "
A Fistful of Dollars is an Italian/German/Spanish co-production, so there are significant language constraints on the set. Leone does not speak English, and Eastwood communicates with the cast and crew of Italy largely through stuntman Benito Stefanelli, who also acts as an unauthorized translator for production and will then appear in other Leone pictures. Similar to other Italian films taken at the time, all recordings were filmed in silence, and dialogue and sound effects were dubbed in post-production. For the Italian version of the film, Eastwood was nicknamed by stage actor and screen Enrico Maria Salerno, a lowly "evil" of Man's voice with No Name in contrast to Eastwood's cocksure and dark humor interpretation.
Visual styles
A Fistful of Dollars became the first film to show Leone's famous visual style. This is influenced by John Ford's cinematic landscape and the improved Japanese method of direction by Akira Kurosawa. Leone wants operatic nuance in the west, so there are many extreme close-up examples on the faces of different characters, functioning like arias in traditional operas. Rhythm, emotion, and communication in the scene can be attributed to the careful framing of its close-ups. This is very different from the use of Hollywood close-ups that use them as reaction shots, usually to the lines of dialogue that has just been spoken. Close-up Leone is more like a portrait, often illuminated with Renaissance type lighting effects, and is considered by some as part of the design in itself.
Eastwood plays a role in creating the typical visual style of Man with No Name. He bought black jeans from a sports shop on Hollywood Boulevard, the hat came from a Santa Monica wardrobe company, and a trademark cigar from the Beverly Hills store. He also carries props from Rawhide including Colt Cobra-handled, a gunbelt, and spurs. Ponco was acquired in Spain. It is Leone and costume designer Carlo Simi who decides to wear a Spanish poncho for an Unnamed Man. On the anniversary DVD for The Good, the Bad, and the Ugly , it is said that although Eastwood himself is a non-smoker, he feels that the dirty taste of the cigar in his mouth puts him in the right frame of mind for his character. Leone reportedly picked up Eastwood's distinctive style quickly and commented that, "More than an actor, I needed a mask, and Eastwood, at the time, had only two expressions: with a hat and a hat."
Title design
Iginio Lardani created the movie title design.
Soundtrack
The music of this film was written by Ennio Morricone, who is credited as Dan Savio.
Leone asked Morricone to write a theme similar to Dimitri Tiomkin El DegÃÆ'¼ello (used in Rio Bravo , 1959). Although both themes are similar, Morricone states that he used a lullaby song he created earlier and developed a theme from it. He added that what makes these two themes similar is execution, not setting.
In 1962, American folk singer, Peter Tevis, recorded a Woody Guthrie version entitled "Pastures of Plenty" composed by Morricone. During a conference with Morricone about the music in the film, the recording of Tevis Pastures of Plenty songs was played. Sergio Leone says "That's it" with Tevis claiming the song and music arrangements were copied for the music for the opening title "Titoli".
"Some of the music was written before the movie, which is unusual.The Leone movies are made that way because he wants music to be an important part of it, and he often saves longer scenes just because he does not want the music to end. slow - because of music. "
Although not used in the finished film, Peter Tevis recorded Morricone's main theme lyrics for the film. As a tie-in film to the American release, United Artists Records released a collection of different lyrics for the Morricone theme entitled Restless One by Little Anthony and Imperials.
Tracks (GDM version 2006)
- The title of 2:58
- Nearly died 1:40
- Music suspended 1:02
- The 1:36 square dance
- Ramon 1: 5
- Consuelo Baxter 1:18
- Double game 1:41
- For a few dollars (1) 1:26
- Exchange of prisoners 0:55
- Up 3:29
- Tracking 2:25
- Torture 9:31
- Are looking for that eliminate 1:22
- No mercy 2: 8
- Reaction 2:36
- For a few dollars (2) 1:49
- For a few dollars (final) 1: 9
Release and acceptance
A Fistful of Dollars was released in Italy in September 1964. More than a movie theatrical release, it robbed more than any other Italian film until then. In January 1967, a film popularized in the United States earned $ 4.5 million for the year. It eventually grossed $ 14.5 million in its American release. In 1969 it was relaunched, generating $ 1.2 million in rent.
When the film was released on the ABC television network on February 23, 1975, a four and a half minute prologue was added to the film to contextualise characters and justify violence. Written and directed by Monte Hellman, it featured an unknown official (Harry Dean Stanton) offering Man With No Name a chance at forgiveness in exchange for cleaning up the mess at San Miguel. The close-up view of Eastwood's face from the archival tape is inserted into the scene next to Stanton's appearance. This prologue opened a television presentation for several years before disappearing; it reappears on the DVD Special Edition and the newer Blu-ray, along with an interview with Monte Hellman about its creation.
After the release of American films in 1967, both Philip French and Bosley Crowther were not impressed with the film itself. Critic Philip French of The Observer states: "The sadism calculated from the film would be offensive if it were not to neutralize the laughter that is aroused by the madness of the whole exercise.If someone does not know the true origin of the film, one would think that it's a private movie made by a group of wealthy western European fans on a farm... A Fistful of Dollars looks terrible, has a dead flat soundtrack, and is completely devoid of human feelings. "Bosley Crowther from The New York Times treats this film not as pastiche, but as a parody of the camp, stating that almost every Western cliche can be found in this very "very aggressive but stinging film" violence". He went on to undermine Eastwood's performance, stating: "He is just another fabrication of personality, half cowboy and half gangster, through his own ritualistic postures and exercises... He is a terrible, funny, and kampy scam".
However, in response to these direct negative reviews, Howard Hughes, in his 2012 Once Upon a Time in the Italian West, is reflected in the statement: "American and British critics strongly prefer to ignore the Fistful release, some acknowledge satirical humor or innovative style, preferring to discard bad production values ​​... ". The retrospective acceptance of A Fistful of Dollars has been much more positive, noting it as a very influential film in rejuvenating the Western genre. The 67th Cannes Film Festival, held in 2014, celebrates the "50th anniversary of the birth of the Western Spaghetti... by showing A Fistful of Dollars ". Quentin Tarantino, before hosting the event, in a press release described the film as "the greatest achievement in Cinema history".
A Fistful of Dollars has reached the 98% approval level of 46 critical reviews on Rotten Tomatoes, with an average rating of 8.2/10. The important consensus of this website reads, "With Akira Kurosawa Yojimbo as the template, Sergio Leone A Fistful of Dollars helped define a new era for the West and ushered in its most iconic star, Clint Eastwood. " It also placed 8th on the 'Top 100 Western' site.
Legal disputes
The film is effectively an unofficial and unofficial remake of the Akira Kurosawa movie 1961 Yojimbo , written by Kurosawa and Ry? Z? Kikushima), raising the traditional theme and tropes character that is typically symbolized in the Jidaigeki film. Kurosawa insisted that Leone had made "a good movie, but it was MY movie." Leone ignored the resulting lawsuit, but was eventually settled out of court, reportedly for 15% of worldwide receipts A Fistful of Dollars and over $ 100,000.
British critic Sir Christopher Frayling identifies three main sources for A Fistful of Dollars: "Some are from the Kurosawa samurai film Yojimbo , partly from Dashiell Hammett's
Leone also refers to many Western Americans in the film, especially Shane (1953) and My Darling Clementine (1946) which is different from Yojimbo .
Digital Restoration
In 2014, the film was digitally restored by Cineteca in Bologna and Unidis Jolly Film for Blu-ray debut and 50 years. The frame-by-frame digital restoration by Prasad Corporation removes dirt, tears, scratches and other defects. The directing credit for Leone, who replaced the "Bob Robertson" card many years ago, has been retained, but on the contrary, the original credit (under a pseudonym, including "Dan Savio" for Morricone) remains the same.
Note
References
- Hughes, Howard (2009). Heart Shot. London: I.B. Tauris. ISBN: 978-1-84511-902-7.
- Munn, Michael (1992). Clint Eastwood: Hollywood Loner . London: Robson Books. ISBNÃ, 0-86051-790-X.
- Frayling, Christopher (2006). Spaghetti westerns: cowboys and Europeans from Karl May to Sergio Leone (Revised paperback ed.). London: I. B. Tauris & amp; ISBN-978-1845112073.
- Giusti, Marco (2007). Dizionario del western all'italiana (1. ed. Oscar varia. ed.). Milano: Oscar Mondadori. ISBNÃ, 88-04-57277-9.
External links
- Handful of Dollars on IMDb
- Handful of Dollars in the TCM Film Database
- Handful of Dollars at AllMovie
- Handful of Dollars in the American Movies Film Catalog
- Handful of Dollars in Box Office Mojo
- Handful of Dollars in Spaghetti Western Database
- Comparison of Yojimbo , A Dollar and The Last Person
Source of the article : Wikipedia
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