2020. 2. 10. 17:10ㆍ카테고리 없음
Genre: ScoreDate: 2010Country: USAAudio codec: MP3Quality: 320 kbpsPlaytime: 1:13:43Gunfight at Red Sands:01. A Gringo Like Me vocal by Peter Travis (02:23)Guns Don’t Argue:02. Guns Don’t Argue (02:31)03. The Indians (02:13)04. Lonesome Billy vocal by Peter Travis (01:49)A Fistful of Dollars:05. Overture (02:55)06. Almost Dead (01:39)07.
Square Dance (01:33)08. The Chase (02:23)09. The Result (02:34)10.
Without Pity (02:06)11. For A Fistful Of Dollars (01:48)A Gun for Ringo:12. A Gun For Ringo (02:18)13. Waiting (02:34)14. The Massacre (01:57)15.
Angel Face vocal by Maurizio Graf (02:19)For a Few Dollars More:16. Sixty Seconds To What?
Aces High (01:18)18. The Watchers Are Being Watched (02:01)19. The Vice Of Killing (02:23)20. The Musical Pocket Watch (01:10)21. The Showdown (02:21)22. Goodbye, Colonel (01:43)23.
For A Few Dollars More (02:57)Ringo Rides Again:24. Ringo Rides Again vocals by Maurizio Graf & “Canti Moderni” (02:15)7 Guns for the MacGregors:25. March Of The MacGregors (02:29)26. Sante Fe Express (02:00)Death Rides a Horse:27. From Man To Man (03:19)Once Upon a Time in the West:28. Once Upon A Time In The West (03:40)29. Farewell To Cheyenne (02:37)30.
Man With a Harmonica (03:27)31. Jill’s America (02:45).
As the in a publicity image of, a film by.These movies were originally released in Italian, but as most of the films featured multilingual casts and sound was post-synched, most 'western all'italiana' do not have an official dominant language. The typical Spaghetti Western team was made up of an Italian director, Italo-Spanish technical staff, and a cast of Italian, Spanish, German, and American actors, sometimes a fading Hollywood star and sometimes a rising one like the young in three of Sergio Leone's films.Over six hundred European Westerns were made between 1960 and 1978. The best-known Spaghetti Westerns were directed by Sergio Leone and scored by, notably the three films of the (starring as the main character)— (1964), (1965) and (1966)—as well as (1968, starring ). These are consistently listed among the best Westerns of any variety. Contents.Common elements Sergio Leone's A Fistful of Dollars established the Spaghetti Western as a novel kind of Western. In this seminal film, the hero enters a town that is ruled by two outlaw gangs, and ordinary social relations are non-existent. He betrays and plays the gangs against one another in order to make money.
Then he uses his cunning and exceptional weapons skill to assist a family threatened by both gangs. His treachery is exposed and he is severely beaten, but in the end, he defeats the remaining gang. The interaction in this story between cunning and irony (the tricks, deceits, unexpected actions and sarcasm of the hero) on the one hand, and pathos (terror and brutality against defenseless people and against the hero after his double play has been revealed) on the other, was aspired to and sometimes attained by the imitations that soon flooded the cinemas. Italian cinema often borrowed from other films without regard for infringement, and Leone famously borrowed the plot for A Fistful of Dollars, receiving a letter from Japanese director congratulating him on making '.a very fine film. But it is my film'. Leone had imitated one of the most highly respected directors in the world by remaking his film as A Fistful of Dollars and consequently surrendered Asian rights to Kurosawa, plus 15% of the international box office proceeds. Leone later moved from borrowing and established his own oft-imitated style and plots.
Leone's films and other 'core' Spaghetti Westerns are often described as having eschewed, criticised or even 'demythologized' many of the conventions of traditional U.S. This was partly intentional and partly the context of a different cultural background.Use of pathos received a big boost with 's influential. In the years following, the use of cunning and irony became more prominent. This was seen in Leone's next two Westerns, with their emphasis on unstable partnerships. In the last phase of the Spaghetti Western, with the Trinity films, the Leone legacy had been transformed almost beyond recognition, as terror and deadly violence gave way to harmless brawling and low comedy.Ennio Morricone's music for A Fistful of Dollars and later Spaghetti Westerns was just as seminal and imitated. It expresses a similar duality between quirky and unusual sounds and instruments on the one hand, and sacral dramatizing for the big confrontation scenes on the other.
Filming locations Most Spaghetti Westerns filmed between 1964 and 1978 were made on low budgets and shot at and various locations around southern Italy and Spain. Many of the stories take place in the dry landscapes of the and Northern Mexico, hence common filming locations were the and the, an area of volcanic origin known for its wide sandy beaches, both of which are in the in southeastern. Some sets and studios built for Spaghetti Westerns survive as theme parks, and, and continue to be used as film sets. Other filming locations used were in and, such as the parks of Valle del Treja (between Rome and ), the area of Camposecco (next to, characterized by a ), the hills around, the area around the mountain, and the 's quarries. Was filmed in Israel. Reception In the 1960s, critics recognized that the American genres were rapidly changing.
The genre most identifiably American, the Western, seemed to be evolving into a new rougher form. For many critics, 's films were part of the problem. Leone's (1964–1966) was not the beginning of the 'Spaghetti Western' cycle in Italy, but for Americans Leone's films represented the true beginning of the Italian invasion of an American genre., in his noted book on the Italian Western, describes American critical reception of the Spaghetti Western cycle as, to 'a large extent, confined to a sterile debate about the 'cultural roots' of the American/Hollywood Western.' He remarks that few critics dared admit that they were, in fact, 'bored with an exhausted Hollywood genre.' , he notes, was willing to acknowledge this critical ennui and thus appreciate how a film such as 's (1961) 'could exploit the conventions of the Western genre, while debunking its morality.' Frayling and other film scholars such as Bondanella argue that this revisionism was the key to Leone's success and, to some degree, to that of the Spaghetti Western genre as a whole. Rise and fall European Westerns from the beginning European Westerns are as old as filmmaking itself.
The made their first public screening of films in 1895 and already in 1896 Gabriel Veyre shot Repas d'Indien ('Indian Banquet') for them. Joe Hamman starred as Arizona Bill in films made in the French horse country of 1911–12.In Italy, the American West as a dramatic setting for spectacles goes back at least as far as 's 1910 opera; it is sometimes considered to be the first Spaghetti Western.The first Italian Western movie was La Vampira Indiana (1913) – a combination of Western and vampire film. It was directed by Vincenzo Leone, father of, and starred his mother Bice Walerian in the title role as Indian princess Fatale. The Italians also made films, while the German twenties saw back-woods Westerns featuring as.Of the Western-related European films before 1964, the one attracting most attention is probably Luis Trenker's (1936), about.
During and after the Second World War there were scattered European uses of Western settings, mostly for comedy or musical comedy.The first Spaghetti Western A forerunner of the genre had appeared in 1943 's ( The Boy in the West) and a cycle of Western comedies was initiated 1959 with and, followed by other films starring comedy specialists like,. An Italian critic has compared these comedies to American vehicles.The first American-British western filmed in Spain was (1958), directed.
It was followed in 1961 by, a British-Spanish western, again filmed in Spain. This marked the beginning of Spain as a suitable film shooting location for any kind of European western.In 1963, three non-comedy Italo-Spanish westerns were produced:,. In 1961 an Italian company co-produced the French, with a Mexican Revolution theme.Since there is no real consensus about where to draw the exact line between Spaghetti Westerns and other Eurowesterns (or other Westerns in general) one cannot say which one of the films mentioned so far was the first Spaghetti Western. However, 1964 saw the breakthrough of this genre, with more than twenty productions or co-productions from Italian companies, and more than half a dozen Westerns by Spanish or Spanish/American companies. Furthermore, by far the most commercially successful of this lot was Sergio Leone's whose innovations in cinematic style, music, acting and story decided the future for the genre.Impact of A Fistful of Dollars The Spaghetti Western was born, flourished and faded in a highly commercial production environment. The Italian 'low' popular film production was basically low-budget and low-profit, and the easiest way to success was imitating a proven success. When the typically low-budget production turned into a remarkable box office success, the industry eagerly lapped up its innovations.
Most succeeding Spaghetti Westerns tried to get a ragged, laconic hero with superhuman weapon skill, preferably one who looked like:, and started out that way; and others stayed that way all their Spaghetti Western career.Whoever the hero was, he would join an outlaw gang to further his own secret agenda, like in, and others, while instead has a bandit infiltrate society and become a sheriff. There would be a flamboyant Mexican bandit ( from A Fistful of Dollars, otherwise or most often ) and a grumpy old man – more often than not an undertaker, to serve as sidekick for the hero. For love interest, rancher's daughters, schoolmarms and barroom maidens were overshadowed by young Latin women desired by dangerous men, where actresses like or carried on 's role of Marisol in the Leone film. The terror of the villains against their defenseless victims became just as ruthless as in, or more, and their brutalization of the hero when his treachery is disclosed became just as merciless, or more – just like the cunning used to secure the latter's retribution.In the beginning some films mixed some of these new devices with the borrowed US Western devices typical for most of the 1963–64 Spaghetti Westerns. For example, in 's (1964) that appeared two months after, an American style 'tragic gunfighter' hero confronts two evil gangs, one Mexican and one Anglo, and (just as in A Fistful of Dollars) the leader of the latter is the town sheriff. One of the most representative directors of the genre.In the same director's (1966) a traditional Western sheriff and a half-breed bounty killer are forced into an uneasy alliance when Mexican bandits and Native Americans together assault the town. In A Pistol for Ringo a traditional sheriff commissions a money-oriented hero played by (with more pleasing manners than Eastwood's character) to infiltrate a gang of Mexican bandits whose leader is played by typically.For a Few Dollars More and its followers After 1965 when Leone's second Western brought a larger box office success, the profession of bounty hunter became the choice of occupation of Spaghetti Western heroes in films like,.
In and, the heroes instead fight bounty killers. This was also the time when every other hero or villain in Spaghetti Westerns started carrying a musical watch, after its ingenious use in.Spaghetti Westerns also began featuring a pair of different heroes. In Leone's film Eastwood's character is an unshaven bounty hunter, dressed similarly to his character in, who enters an unstable partnership with Colonel Mortimer , an older bounty killer who uses more sophisticated weaponry and wears a suit, and in the end turns out to also be an avenger. In the following years there was a deluge of Spaghetti Westerns with a pair of heroes with (most often) conflicting motives.
Examples include: a lawman and an outlaw ( ), an army officer and an outlaw ( Bury Them Deep), an avenger and a (covert) army officer ( ), an avenger and a (covert) guilty party ( Viva! Django), an avenger and a con-man ( ), an outlaw posing as a sheriff and a bounty hunter ( Man With the Golden Pistol) and an outlaw posing as his twin and a bounty hunter posing as a sheriff ( ).The theme of age in, where the younger bounty killer learns valuable lessons from his more experienced colleague and eventually becomes his equal, is taken up in. In both cases Lee Van Cleef carries on as the older hero versus Giuliano Gemma and John Phillip Law, respectively.Zapata Westerns One variant of the hero pair was a revolutionary Mexican bandit and a mostly money-oriented American from the United States frontier.
These films are sometimes called Zapata Westerns. The first was 's and then followed 's trilogy:, and.' S and also belong here, as does by – among others. Many of these films enjoyed both good takes at the box office and attention from critics. They are often interpreted as a leftist critique of the typical Hollywood handling of Mexican revolutions, and of imperialism in general. Betrayal stories In Leone's there is still the scheme of a pair of heroes vs.
A villain but it is somewhat relaxed, as here all three parties were driven by a money motive. In subsequent films like, and several main characters repeatedly form alliances and betray each other for monetary gain.and, directed by, introduce into similar betrayal environments a kind of hero molded on the Mortimer character from, only without any vengeance motive and with more outrageous trick weapons. Fittingly enough Sabata is performed by himself, while plays the very similar protagonist. Parolini made some more Sabata movies while made a whole series of Sartana films with Garko.Django and the tragic heroes Beside the first three Spaghetti Westerns by Leone, a most influential film was 's starring. The titular character is torn between several motives – money or revenge – and his choices bring misery to him and to a woman close to him. Indicative of this film's influence on the Spaghetti Western style, Django is the hero's name in a plenitude of subsequent westerns.Even though his character is not named Django, Franco Nero brings a similar ambience to and where the hero must confront surprising and dangerous family relations. Similar 'prodigal son' stories followed, including, and also.Another type of wronged hero is set up and must clear himself from accusations.
Starred in a series of successful films carrying this theme –, I lunghi giorni della vendetta, and to some extent – where most often his character is called 'Gary'.The wronged hero who becomes an avenger appears in many Spaghetti Westerns. Among the more commercially successful films with a hero dedicated to vengeance –, Today We Kill Tomorrow We Die!, Viva Django, The Devil's Backbone, Hate for Hate, Greatest Robbery in the West – those with whom he cooperates typically have conflicting motivations.Comedy Westerns. A Fistful of Dollars (The Archives: A Fistful of Dollars) (Blu-ray disc). Los Angeles, California:.
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25 April 2011. Frayling (2006) pp. 217–44, Fridlund (2006) pp.173–99. Frayling (2006) pp.82 finds over thirty Django films, with renaming in French versions included. Fridlund (2006) pp.
98–100 finds only 47 German titles containing the word 'Django'. The term is used by Fridlund (2006) pp. 101–09. Fridlund (2006) p.238-40. Fridlund (2006) p.237,245. Fridlund (2006) p.237,248-51.
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Fisher, Austin (2011). Radical Frontiers in the Spaghetti Western: Politics, Violence and Popular Italian Cinema. 175 Fifth Avenue New York NY: I.B. Tauris & Co Ltd.
Frayling, Christopher (2006). London, New York:I.B. Tauris & Co Ltd. Retrieved 27 April 2011. Frayling, Christopher: Sergio Leone: Something to Do with Death (London: Faber, 2000).
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Print. Weisser, Thomas, Spaghetti Westerns: the Good, the Bad and the Violent — 558 Eurowesterns and Their Personnel, 1961–1977.
(Jefferson, N.C.: McFarland, 1992)External links The dictionary definition of at Wiktionary., a book about Spaghetti Westerns made between 1963 and 1973, released under a Creative Commons license by its author.