Once Upon a Time in the Italian West: The Filmgoers' Guide by Howard Hughes

By Howard Hughes

Masking the key Italian Spaghetti Westerns - quite often the nice but additionally the undesirable and the gruesome - this is often an authoritative, unique and accomplished significant other to the legendary Spaghetti West. Sergio Leone's Dollars Trilogy led the sector yet many extra significant Spaghetti Westerns have been made via very important administrators, together with Sergio Corbucci's Navajo Joe, Carlo Lizzani's The Hills Run Red, Duccio Tessari's A Pistol for Ringo. Combining research, info and energetic anecdotes, this renowned consultant explores all of those motion pictures during the biographies and filmographies of key group of workers, tales of every construction, their destinations and units, assets, musical ratings, designated solid details and lots of illustrations, together with unique posters and stills.Key motion pictures featured contain The sturdy, the undesirable and the grotesque, For a couple of funds extra, A Fistful of bucks, the large Silence, Django, My identify is no one, A Bullet for the final, the massive Gundown, nose to nose </em>and <i>They name Me Trinity.</i>

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Additional info for Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns

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A honky-tonk band plays ‘Silent Night’, while the bandits prefer the lazy mariachi trumpet of ‘Bamba Bambina’. This fiesta music reinforces the contrast between the Gringos and Mexicans. The aristocrats are associated with classical compositions, as in the scene where Major Clyde plays a waltz on his gramophone, which he bought from ‘a Mr Edison’. A Pistol for Ringo made an excellent profit domestically when it was released in May 1965. Such was the film’s huge success that the theme song went to number one in the Italian charts.

Return is a much darker film and the characters are more tragic.

Ruby’s childlike innocence is a gradual revelation, with Tessari initially presenting her as a cliché (in this case the ‘sheriff ’s ‘IT’S A MATTER OF PRINCIPLE’ girl’), but slowly unveiling more of her temperament, from the scenes of quiet domesticity to her contribution to the action-packed finale. Ruby (called Ruth in some prints) loves the sheriff, but later cannot acknowledge that her father can also fall in love, especially with a peasant bandit’s girl. Even so, she slowly falls under the spell of a charming gunman.

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