A Fistful of Dollars - Wikipedia. A Fistful of Dollars (Italian: Per un pugno di dollari, lit. It was followed by For a Few Dollars More and The Good, the Bad and the Ugly, also starring Eastwood.
Sergio Leone rendezte . Play along with guitar, ukulele or piano using our intuitive playback interface.
Collectively, the films are known as the . The film has been identified as an unofficial remake of the Akira Kurosawa film Yojimbo (1. Toho, the producers of Yojimbo. In the United States, the United Artists publicity campaign referred to Eastwood's character in all three films as the . These included Leone himself (.
Subscribe Subscribed Unsubscribe. Want to watch this again later. Online film ingyen: Egy mar! 85.000 online teljes film adatlap. A Fistful of Dollars has achieved a 98% freshness rating out of 43 critical reviews on Rotten Tomatoes, whilst being placed 8th on the site's 'Top 100 Westerns'.
A Fistful of Dollars was shot in Spain, mostly near Hoyo de Manzanares. Silvanito, the town's innkeeper, tells the Stranger about a feud between two families vying to gain control of the town: on the one side, the Rojo brothers: Don Miguel, Esteban and Ram. The Stranger decides to play each family against the other in order to make money, and proves his speed and accuracy with his gun to both sides by shooting with ease the four men who teased him as he entered town. The Stranger seizes his opportunity when he sees the Rojos massacre a detachment of Mexican soldiers who were escorting a shipment of gold. He takes two of the dead bodies to a nearby cemetery and sells information to both sides, saying that two Mexican soldiers survived the attack. Both sides race to the cemetery; the Baxters to get the .
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The factions engage in a gunfight, with Ram. While he is searching he accidentally knocks out a woman, Marisol. He takes her to the Baxters, who, in turn, arrange to return her to the Rojos in exchange for Antonio.
During the exchange, Marisol's son, Jes. While the family embraces, Ram. Silvanito attempts to protect the family with a shotgun with the Stranger backing him up. He learns from Silvanito that Ram. That night, while the Rojos are celebrating, the Stranger rides out and frees Marisol, shooting the guards and wrecking the house in which she is being held, making it appear as though it were attacked by the Baxters. He gives Marisol some money and tells her family to leave the town.
When the Rojos discover that he freed Marisol, they capture and torture him, but he escapes. Believing the Stranger to be protected by the Baxters, the Rojos set fire to the Baxter home and massacre the entire family as they run out of the burning building. Ramon kills John Baxter and Antonio after pretending to spare them. Consuelo, John Baxter's wife, appears and curses the Rojos for killing her unarmed husband and son. She is then shot and killed by Esteban. With help from Piripero, the local coffin- maker, the Stranger escapes town by hiding in a coffin.
The Stranger hides and convalesces in a nearby mine. When Piripero tells him that Silvanito has been captured, the Stranger returns to town to face the Rojos. With a steel chest- plate hidden beneath his poncho, he taunts Ram.
The Stranger shoots the rifle from Ram. He then uses the last bullet in his gun to free Silvanito, tied hanging from a post. After challenging Ram. Esteban Rojo aims for the Stranger's back from a nearby building, but is shot dead by Silvanito.
The Stranger bids farewell and rides away from the town. Development. In his opinion, the American westerns of the mid- to late- 1. Despite the fact that even Hollywood began to gear down production of such films, Leone knew that there was still a significant market in Europe for westerns.
He observed that Italian audiences laughed at the stock conventions of both American westerns and the pastiche work of Italian directors working behind pseudonyms. His approach was to take the grammar of Italian film and to transpose it into a western setting. Eastwood was not the first actor approached to play the main character. Originally, Sergio Leone intended Henry Fonda to play the . Next, Leone offered Charles Bronson the part. He, too, declined, arguing that the script was bad.
Both Fonda and Bronson would later star in Leone's Once Upon a Time in the West (1. Other actors who turned the role down were Henry Silva, Rory Calhoun, Tony Russel. Harrison, however, had not been impressed with his experience on his previous film and refused. The producers later presented a list of available, lesser- known American actors and asked Harrison for advice.
Harrison suggested Eastwood, who he knew could play a cowboy convincingly. I decided it was time to be an anti- hero. Leone did not speak English. Similar to other Italian films shot at the time, all footage was filmed silent, and the dialogue and sound effects were dubbed over in post- production.
This was influenced by both John Ford's cinematic landscaping and the Japanese method of direction perfected by Akira Kurosawa. Leone wanted an operatic feel to his western, and so there are many examples of extreme close- ups on the faces of different characters, functioning like arias in a traditional opera. The rhythm, emotion, and communication within scenes can be attributed to Leone. Leone's close- ups are more akin to portraits, often lit with Renaissance- type lighting effects, and are considered by some as pieces of design in their own right. He bought black jeans from a sport shop on Hollywood Boulevard, the hat came from a Santa Monica wardrobe firm, and the trademark cigars from a Beverly Hills store.
Leone reportedly took to Eastwood's distinctive style quickly and commented that, . Although the two themes are similar, Morricone states that he used a lullaby he had composed before and developed the theme from that. He adds that what makes the two themes similar is the execution, not the arrangement. Leone's films were made like that because he wanted the music to be an important part of it, and he often kept the scenes longer simply because he didn't want the music to end. That's why the films are so slow - because of the music. As a movie tie- in to the American release, United Artists Records released a different set of lyrics to Morricone's theme called Restless One by Little Anthony and the Imperials. Tracks (2. 00. 6 GDM version).
Early advertisement pieces such as these minimised or made no references to Clint Eastwood's character, largely because Eastwood was still a relatively unknown actor in Italy at the time. Over the film's theatrical release, it grossed more than any other Italian film up to that point.
Written and directed by Monte Hellman, it featured an unidentified official (Harry Dean Stanton) offering the Man With No Name a chance at a pardon in exchange for cleaning up the mess in San Miguel. Close- ups of Eastwood's face from archival footage are inserted into the scene alongside Stanton's performance. Critic Philip French of The Observer stated: . If one didn't know the actual provenance of the film, one would guess that it was a private movie made by a group of rich European Western fans at a dude ranch.. A Fistful of Dollars looks awful, has a flat dead soundtrack, and is totally devoid of human feeling. He went on to patronise Eastwood's performance, stating: . He is a morbid, amusing, campy fraud.
The 6. 7th Cannes Film Festival, held in 2. Kurosawa insisted that Leone had made .
He claims a thematic debt, for both Fistful and Yojimbo, to Carlo Goldoni's Servant of Two Masters. Leone asserted that this rooted the origination of Fistful/Yojimbo in European, and specifically Italian, culture. The Servant of Two Masters plot can also be seen in Hammett's detective novel Red Harvest. The Continental Op hero of the novel is, significantly, a man without a name. Leone himself believed that Red Harvest had influenced Yojimbo: . Frame- by- frame digital restoration by Prasad Corporation removed dirt, tears, scratches and other defects. Los Angeles, California: Metro- Goldwyn- Mayer.
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