Once Upon a Time in the West-1968
Director Sergio Leone
Starring Henry Fonda, Claudia Cardinale
Top 250 Films #187
Scott’s Review #886
Reviewed April 17, 2019
Grade: A
At one time dismissed as either frivolous or cartoon-like, the derogatory genre classification “spaghetti western” was originally played for laughs or featured a comical slant, often with bad lip-syncing.
Many of these films have aged tremendously well, though, and are now more widely appreciated and have become a part of the cinematic canon.
Once Upon a Time in the West (1968) is a lesson in camp art that marinates like a fine steak, drizzling with texture and a good atmosphere across a sprawling two-hour-and-forty-six-minute landscape.
In a great sequence, the film begins with a mysterious harmonica-playing gunman (Charles Bronson), dubbed “Harmonica” for reasons eventually revealed, shooting three men sent to kill him.
Meanwhile, to get his hands on prized railroad land in Sweetwater, disabled railroad baron Morton (Gabriele Ferzetti) hires killers, led by blue-eyed baddie Frank (Henry Fonda), who murders property owner Brett McBain (Frank Wolff) and his family.
The film immediately exudes intensity, with a severe revenge theme.
The story develops further, with romance mixed in a Western style, as McBain’s newly arrived bride, Jill (Claudia Cardinale), inherits the land instead.
Jill is a former prostitute who catches the eye of most of the men she encounters. Both outlaws, Cheyenne (Jason Robards) and Harmonica, take it upon themselves to look after Jill and thwart Frank’s plans to seize her land.
With standard Western flair, they are both attracted to Jill and yearn for her affection while also feeling protective of her.
Not professing to be enamored with the Western genre- the stereotypical Cowboys and Indians and token damsel in distress have their limitations- Once Upon a Time in the West is a feast for the eyes and the ears with cinematography on par with Lawrence of Arabia (1963) and a killer musical score.
While the story may have a traditional backbone, the nuances are astounding. The sweeping mountains of the western United States are heavily featured, and the tension-infused music sets up every thrilling scene with gusto and foreboding.
Hot on the heels of another similarly themed masterpiece, The Good, The Bad, and The Ugly (1966), Leone delivers the goods at every turn, most notably setting up each scene with sizzling elements that emit a clear sense of danger.
The audience knows trouble is about to transpire, but not exactly when the shit will hit the fan. The family death scene is paced astoundingly well as the family merrily goes about preparing a delicious summer meal, unaware that destruction is around the corner.
Sure, the cast is a mix of American and Italian actors with varying degrees of accents, not exactly mirroring the Wild West.
Yes, Jill wears heavy mascara and a hairstyle straight out of the 1960s, and one character has brightly dyed red hair, but these intricacies give the film character rather than turn the production into a disheveled mess.
Forever known for heroic or everyman roles, Fonda plays against type, cast as the central, sadistic villain, and the result is superlative.
Leone’s ability to cast a legendary star in a production with little expectation is quite a feat, and Fonda seems to revel in role-playing him both dangerously and straight.
With his piercing blue eyes and a gaze sure to make children run away in terror, his brutal villainy is fully realized only at the film’s conclusion.
Dozens of iconic comparisons to Quentin Tarantino’s modern directing style can be drawn. The director undoubtedly watched and studied this film repeatedly, as numerous qualities of it mirror his own movies.
Viewers will delight in drawing these comparisons, including a harmonica reference, a revenge story, and the climactic reveal at the end of the film, presented as a flashback that pulls all the pieces together.
Once Upon a Time in the West (1968) is a quality film that has finally gotten its due. Tremendous and compelling storytelling is combined with flavorful qualities and a dusty atmosphere.
The film is the sum of its parts, and while it was initially underappreciated, it has finally risen to the rank of a high-quality masterpiece.
Influencing many great directors, including Martin Scorsese, George Lucas, and Tarantino, is quite a testament to its staying power.
