Leone’s Spaghetti The “spaghetti” western, Sergio Leone’s conscious departure from what had come to be known as the “classic” western formula, became a modification of the conventions of the traditional genre. In the film For A Few Dollars More (Per quelque dollars in pi’u, 1965), Leone’s formula is developed through a reformed narrative structure, slight changes in the traditional characters, his unique style, and the simple use of language, which revolutionized the western. The American “classic” western formula, according to Peter Bondanella in his essay A Fistful of Pasta: Sergio Leone and the Spaghetti Western, employed “a combination of narrative possibilities generated by three central roles: the townspeople (agents of civilization); savages or outlaws, who threaten the first group; and heroes, men who share certain characteristics of the second group, but who act ultimately on behalf of the representatives of civilization” (Bondanella, 255).
Leone’s modification of the traditional narrative structure removed the townspeople, and in doing so eliminated civilization. He kept the outlaws, headed by an evil man with some sort of psychological scarring. Instead of one hero, there are two, who act not on behalf of society and order but their own personal gain.
The Term Paper on Interesting Narrative
“Who are we looking for, who are we looking for? It’s Equiano we’re looking for. ” –those are the words from a chant about the disappearance of an African boy. The disappearance of Olaudah Equiano has become a subject for a national folklore. All along the sixteenth – nineteenth centuries thousands of Africans captured in West Africa had been shipped to be sold in slavery. Many of them ...
For A Few Dollars More revolves around these three main characters. The first character introduced by Leone to the audience is Colonel Douglas Mortimer (Lee Van Cleef), “a retired soldier and bounty hunter motivated not only by profit but also the thirst for revenge” (Bondanella, 257) of his sister’s rape and death. He is a professional, who stalks his target from a distance with an assortment of rifles rolled up in his saddlebags; but to contrast with this cold delusion, Mortimer dresses in his black preacher’s costume and is a habitual reader of the Bible. He represents the older, wiser generation, which is destined to be extinct. Next, Leone introduces Mortimer’s competition and opposite, Manco (Clint Eastwood), a young stranger with his cigars and poncho, who blends with his surroundings.
He is a bounty hunter who kills purely for profit and approaches his victims directly. Finally, the audience is introduced to a doped-up Mexican killer, Indio (Gian Maria Volont’e), whose degenerate pleasure in violence is linked to the moment, years before, when the death of Mortimer’s sister traumatized him sexually, and is constantly reminded of the incident by the chiming of the musical watch he carries, which matches Mortimer’s. (Bondanella, 257) Mortimer and Manco, at first in competition with each other, join forces against Indio and his gang of criminals in order for each to achieve their goal through a partnership. One of the elements of Leone’s unique style is the use of flashbacks, which in this case he utilizes to link the emotions of Mortimer and Indio through the chimes of the watches they both carry.
This prepares the audience for the inevitable showdown and settling of accounts between them that will conclude the film. Furthermore, the initial hostility between Mortimer and Manco, because of their competition for the same victim, makes the ultimate resolution of the plot a face-off between Manco, Mortimer, and Indio in the traditionally used circular corrida by Leone. (Bondanella, 258-265) Another traditional element of Leone’s style is the creative use of the outstanding soundtrack by Ennio Morricone, which was made up of the chiming of the watch along with traditional Sicilian folk instruments, gunfire, and ricocheting bullets. Leone’s most recognizable elements of personal style are the use of close-ups to reveal emotions rather than information, and his brilliant editing rhythms. (Bondanella, 256) For example, when Mortimer sees the “Wanted” poster for Indio there is a focus on the part that reads “dead or alive,” which is followed by a series of split second jump cuts, between close-ups of Mortimer’s face and extreme close-ups of his malicious eyes. These emphasized the hidden emotions that motivate him to seek revenge.
The Term Paper on Audience Reactions and Attitudes to Much Ado About Nothing
In “Much Ado About Nothing” Shakespeare captures many of the social standards in Elizabethan society whether they are fair or not. In Act 2 Scene 2 of the play, Don John plots to frame Hero and make it look like she has been unfaithful to her fiancée the night before they are due to marry. This then sparks outrage from the male characters, which in turn shows a male bias in their ...
Leone relies on the characters’ actions to reveal much of the emotions that carry the story along. He uses language in a simple way; using the minimal amount of dialogue to convey certain information the audience can’t receive through images, but has developed the language a long way from the old John Wayne westerns. Leone’s development of a different western formula changed the old cheese-ball movies that became so predictable. For A Few Dollars More is a much more serious film for a better-educated audience, reflecting more elaborate themes through new techniques, but retaining the basis of the western. Works Cited and Consulted 1.
Bondanella, Peter. Italian Cinema: From Neo realism To the Present. “A Fistful of Pasta: Sergio Leone and the Spaghetti Western.” p. 253-274. 2. Leone, Sergio.
Film: For A Few Dollars More.
