| Once Upon a Time in the West | |
| Director: | Sergio Leone |
| Producer: | Fulvio Morsella |
| Music: | Ennio Morricone |
| Cinematography: | Tonino Delli Colli |
| Editing: | Nino Baragli |
| Runtime: | 166 minutes |
| Language: | Italian English |
| Budget: | $5 million |
| Gross: | $5.3 million (United States) 40 million tickets (worldwide) |
Once Upon a Time in the West ("Once upon a time (there was) the West") is a 1968 epic spaghetti Western film directed by Sergio Leone, who co-wrote it with Sergio Donati based on a story by Dario Argento, Bernardo Bertolucci and Leone. It stars Henry Fonda, cast against type as the villain,[1] [2] Charles Bronson as his nemesis, Jason Robards as a bandit and Claudia Cardinale as a newly widowed homesteader. The widescreen cinematography was by Tonino Delli Colli and the acclaimed film score was by Ennio Morricone.
After directing The Good, the Bad and the Ugly, Leone decided to retire from Westerns and aimed to produce his film based on the novel The Hoods, which eventually became Once Upon a Time in America. However, Leone accepted an offer from Paramount Pictures providing Henry Fonda and a budget to produce another Western. He recruited Bertolucci and Argento to devise the plot of the film in 1966, researching other Western films in the process. After Clint Eastwood turned down an offer to play the movie's protagonist, Bronson was offered the role. During production, Leone recruited Donati to rewrite the script due to concerns over time limitations.
The original version by the director was 166 minutes when it was first released on December 21, 1968. This version was shown in European cinemas, and was a box-office success. For the US release on May 28, 1969, Once Upon a Time in the West was edited down to 145 minutes by Paramount and was a financial flop.
The film is the first installment in Leone's Once Upon a Time trilogy, followed by Duck, You Sucker! and Once Upon a Time in America, though the films do not share any characters in common.[3]
In 2009, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[4] [5] The film is regarded as one of the greatest Westerns of all time and one of the greatest films of all time.[6] [7] [8] [9]
A train arrives at the Old West town of "Flagstone" where a man with a harmonica (later dubbed "Harmonica") overcomes an ambush by killing three men in dusters. Although Harmonica was expecting to meet an outlaw named Frank, he concludes by the dusters the men belonged to the outlaw Cheyenne's gang. It is not yet revealed why Harmonica seeks Frank. Meanwhile, Frank and his gang murder Brett McBain and his three children as they prepare for a celebration at his ranch called "Sweetwater." Shortly thereafter, a former prostitute arrives at Sweetwater and reveals she is Jill McBain, who married McBain a month before in New Orleans. Frank leaves evidence at the murder scene implicating Cheyenne. Jill is shocked at the murders and searches for a motive. Frank is a hired gun for railway tycoon, Morton, who directed Frank to intimidate, not murder, McBain. McBain intended to profit by building a watering station on Sweetwater, because he knew the railroad from Flagstone would eventually pass through his property. However, if the station was incomplete by the time the railroad reached Sweetwater, the property would revert to the railroad. McBain's murder puts Morton at odds with Frank, who desires the land for himself. Jill's unexpected appearance makes her the owner of Sweetwater as McBain's surviving widow.
Harmonica encounters Cheyenne, now a fugitive, who denies his men were sent to ambush him. Harmonica saves Jill from two of Frank's men and spies out the railway carriage where Morton is confined on crutches, owing to his spinal tuberculosis. Harmonica discovers the connection between Frank and Morton but is seen and captured. Frank is called away and Cheyenne rescues Harmonica. The two collaborate to help Jill save Sweetwater, using stockpiled materials to start building a station.
After a threatening sexual encounter with Frank, Jill is forced to auction the land; but, Frank's henchmen intimidate the bidders in order to purchase it for Frank at a low price. Harmonica appears with Cheyenne in tow and bids $5,000, which is the price on Cheyenne's head as a wanted fugitive. Frank is unsuccessful in buying Harmonica out, and wonders why Harmonica is pursuing him. Morton bribes Frank's own men to kill him, but Harmonica intervenes to save Frank, because of his unfinished business with him.
Cheyenne escapes custody and he and his gang engage Frank's remaining men in a gunfight on Morton's train. Except for Cheyenne, who heads to Sweetwater, everyone is killed, including Morton. When Frank sees the aftermath of the fight, he rides to Sweetwater too, where he finds Harmonica waiting. Cheyenne has arrived earlier, but he remains in the ranch house with Jill. Outside, Harmonica and Frank engage in a showdown. Through a flashback, it is revealed that Frank had once shoved a harmonica into the mouth of a boy as he supported his older brother on his shoulders, whom Frank was hanging. The boy collapsed, hanging his brother. Harmonica beats Frank to the draw. As Frank lays dying, Harmonica shoves the harmonica into Frank's mouth, triggering Frank's memory of him before he dies.
As Harmonica and Cheyenne leave Sweetwater together, Cheyenne collapses and dies from a gut wound he received in the gunfight with Morton. Harmonica puts the body on Cheyenne's horse and rides off as Jill serves water to the railroad workers.
After making his American gunfighter epic The Good, the Bad and the Ugly, Leone had intended to make no more Westerns, believing he had said all he wanted to say.[10] He had come across the novel The Hoods by the pseudonymous "Harry Grey", a fictionalized book based on the author's own experiences as a Jewish hood during Prohibition, and planned to adapt it into a film (17 years later, it would become his final film, Once Upon a Time in America). Leone, though, was offered only Westerns by the Hollywood studios. United Artists (which had produced the Dollars Trilogy) offered him the opportunity to make a film starring Charlton Heston, Kirk Douglas and Rock Hudson, but Leone refused. When Paramount offered Leone a generous budget along with access to Henry Fonda—his favorite actor, and one with whom he had wanted to work for virtually all of his career—Leone accepted the offer.[11]
Leone commissioned Bernardo Bertolucci and Dario Argento to help him devise a film treatment in late 1966. The men spent much of the following year watching and discussing numerous classic Westerns, such as High Noon, The Iron Horse, The Comancheros and The Searchers at Leone's house, and constructed a story made up almost entirely of references to American Westerns.
Beginning with The Good, the Bad and the Ugly, which originally ran for three hours, Leone's films had usually been cut (often quite considerably) for box-office release. Leone was very conscious of the length of Once Upon a Time in the West during filming and subsequently commissioned Sergio Donati, who had worked on several of Leone's other films, to help him refine the screenplay, largely to curb the length of the film toward the end of production.
For Once Upon a Time in the West, Leone changed his approach over his earlier Westerns. Whereas the "Dollars" films were quirky and up-tempo, a celebratory yet tongue-in-cheek parody of the icons of the Wild West, this film is much slower in pace and somber in theme. Leone's distinctive style, which is very different from, but very much influenced by, Akira Kurosawa's Sanshiro Sugata (1943), is still present, but has been modified for the beginning of Leone's second trilogy, the so-called Once Upon a Time trilogy. The characters in this film are also beginning to change markedly over their predecessors in the Dollars trilogy. They are not quite as defined and, unusual for Leone characters up to this point, they begin to change (or at least attempt to) over the course of the story. This signals the start of the second phase of Leone's style, which was further developed in Duck, You Sucker! and Once Upon a Time in America.
The film features long, slow scenes with very little dialogue and little happening, broken by brief and sudden violence. Leone was far more interested in the rituals preceding violence than in the violence itself. The tone of the film is consistent with the arid semidesert in which the story unfolds, and imbues it with a feeling of realism that contrasts with the elaborately choreographed gunplay.
Leone liked to tell the story of a cinema in Paris where the film ran uninterrupted for two years. When he visited this theater, he was surrounded by fans who wanted his autograph, as well as the projectionist, who was less than enthusiastic. Leone claimed the projectionist told him, "I kill you! The same movie over and over again for two years! And it's so SLOW!"[12]
Interiors for the film were shot in Cinecittà studios, Rome.[13] The opening sequence with the three gunmen meeting the train was one of the sequences filmed in Spain. Shooting for scenes at Cattle Corner Station, as the location was called in the story, was scheduled for four days and was filmed at the "ghost" railway station in the municipality of La Calahorra, near Guadix, in the Province of Granada, Spain, as were the scenes of Flagstone. Shooting for the scenes in the middle of the railway were filmed along the Guadix–Hernán-Valle railway line.[14] [15] [16] Scenes at the Sweetwater Ranch were filmed in the Tabernas Desert, Spain; the ranch is still located at what is now called Western Leone. The brick arch, where Bronson's character flashes back to his youth and the original lynching incident, was built near a small airport 15 miles (24 km) north of Monument Valley, in Utah, and two miles from U.S. Route 163 (which links Gouldings Lodge and Mexican Hat). Monument Valley itself is used extensively for the route Jill travels towards her new family in Sweetwater.[13]
Henry Fonda did not accept Leone's first offer to play Frank, so Leone flew to New York to convince him, telling him: "Picture this: the camera shows a gunman from the waist down pulling his gun and shooting a running child. The camera tilts up to the gunman's face and... it's Henry Fonda". After meeting with Leone, Fonda called his friend Eli Wallach, who had co-starred in The Good, the Bad and the Ugly. Wallach advised Fonda to do the film, telling him "You will have the time of your life."
When he accepted the role, Fonda came to the set with brown contact lenses and a handlebar mustache. Fonda felt having dark eyes and facial hair would blend well with his character's evil, and also help the audience to accept this "new" Fonda as the bad guy, but Leone immediately told him to remove the contacts and facial hair, saying he did not want Fonda to look like a cliche villain.[10]
Leone said he cast Claudia Cardinale in part because she was an Italian national and, as such, they could get a tax break.[10]
Leone wanted the three men who ambush Harmonica and are subsequently killed to be played by Clint Eastwood, Lee Van Cleef, and Eli Wallach in a symbolic killing of the Dollars Trilogy which Leone wanted to put behind him. However, though Wallach was willing, Van Cleef was unavailable and Eastwood was not interested in the role.[10]
Following the film's completion, Once Upon a Time in the West was dubbed into several languages, including Italian, French, German, Spanish, and English. The film's dialogue was translated into English by expatriate American actor Mickey Knox.[17] For the English dub, the voices of many of the American cast, including Fonda, Bronson, Robards, Wynn, Wolff, and Lionel Stander, were used. However, the rest of the cast had to be dubbed by other actors – including Claudia Cardinale, who was dubbed by actress Joyce Gordon, Gabriele Ferzetti, who was voiced by Gordon's husband, Bernard Grant, and Jack Elam.[18]
See main article: Once Upon a Time in the West (soundtrack). The music was written by composer Ennio Morricone, Leone's regular collaborator, who wrote the score under Leone's direction before filming began. As in The Good, the Bad and the Ugly, the haunting music contributes to the film's grandeur and, like the music for The Good, the Bad and the Ugly, is considered one of Morricone's greatest compositions.
The film features leitmotifs that relate to each of the main characters (with their own theme music), as well as to the spirit of the American West. Especially compelling are the wordless vocals by Italian singer Edda Dell'Orso during the theme music for Jill McBain. Leone's desire was to have the music available and played during filming. Leone had Morricone compose the score before shooting started and played the music in the background for the actors on set.
Except for about a minute of the "Judgment" motif, before Harmonica kills the three outlaws, no soundtrack music is played until the end of the second scene, when Fonda makes his first entry. During the beginning of the film, Leone instead uses a number of natural sounds, for instance, a turning wheel in the wind, sound of a train, grasshoppers, shotguns while hunting, wings of pigeons, etc., in addition to the diegetic sound of the harmonica.
The film was a massive hit in France, and was easily the most successful film released there in 1969, with 14.8 million admissions, ranking seventh of all time.[19] [20] It sparked a brief fashion trend for duster coats, which took such proportions that Parisian department stores such as Au Printemps had to affix signs on escalators warning patrons to keep their "maxis", as they were called, clear from the edges of moving steps to prevent jamming.
It was also the most popular film in Germany with admissions of 13 million, ranking third of all time.
In the US, Paramount edited the film to about 145 minutes for the wide release, but the film underperformed at the box office, earning $2.1 million in North America.[21]
These scenes were cut for the American release:
Otherwise, one scene was slightly longer in the US version than in the international film release: Following the opening duel (where all four gunmen fire and fall), Charles Bronson's character stands up again, showing that he had only been shot in the arm. This part of the scene had been originally cut by director Sergio Leone for the worldwide theatrical release. It was added again for the U.S. market, because the American distributors feared American viewers would not understand the story otherwise, especially since Harmonica's arm wound is originally shown for the first time in the scene at the trading post, which was cut for the shorter U.S. version.
The English-language version was restored to around 165 minutes for a re-release in 1984, and for its video release the following year.
In Italy, a 175-minute director's cut features a yellow tint filter, and several scenes were augmented with additional material. This director's cut was available on home video until the early 2000s, and still airs on TV, but more recent home-video releases have used the international cut.
After years of public requests, Paramount released a two-disc "Special Collector's Edition" of Once Upon a Time in the West on November 18, 2003, with a running time of 165 minutes (158 minutes in some regions).[22] This release is the color 2.35:1 aspect ratio version in anamorphic widescreen, closed captioned, and Dolby. Commentary is also provided by film experts and historians, including John Carpenter, John Milius, Alex Cox, film historian and Leone biographer Sir Christopher Frayling, Dr. Sheldon Hall, and actors Claudia Cardinale and Gabriele Ferzetti, and director Bernardo Bertolucci, a co-writer of the film.
The second disc has special features, including three recent documentaries on several aspects of the film:
The film was released on Blu-ray on May 31, 2011.
A restored 4K version was published by Cineteca Bologna in 2018, with improved colors and image quality.[23]
In Italy, the film sold 8,870,732 tickets.[24] In the United States, it grossed $5,321,508,[25] from ticket sales.[26] It sold a further 14,873,804 admissions in France[27] and 13,018,414 admissions in Germany,[28] for a total of tickets sold worldwide.
Once Upon a Time in the West was reviewed in 1969 in the Chicago Sun-Times by Roger Ebert, who gave it two and a half stars out of four. He found the film "good fun" and "a painstaking distillation" of Leone's famous style, with intriguing performances by actors cast against their type and a richness of detail projecting "a sense of life of the West" made possible by Paramount's larger budget for this Leone film. Ebert complained, however, of the film's length and convoluted plot, which he said only becomes clear by the second hour. While viewing Cardinale as a good casting choice, he said she lacked the "blood-and-thunder abandon" of her performance in Cartouche (1962), blaming Leone for directing her "too passively".[29]
In subsequent years, the film developed a greater standing among critics, as well as a cult following.[30] Directors such as Martin Scorsese, George Lucas, Quentin Tarantino, and Vince Gilligan[31] have cited the film as an influence on their work. It has also appeared on prominent all-time critics lists, including Times 100 greatest films of the 20th century and Empires 500 greatest movies of all time, where it was the list's highest-ranking Western at number 14.[32] Popular culture scholar Christopher Frayling regarded it as "one of the greatest films ever made".[33]
Review aggregation website Rotten Tomatoes reports a 96% approval rating based on 69 reviews, with an average score of 9.10/10. The critical consensus reads: "A landmark Sergio Leone spaghetti Western masterpiece featuring a classic Morricone score".[34] Metacritic gives the film a weighted average score of 82 out of 100 based on reviews from 9 critics, indicating "universal acclaim".[35]
The film is recognized by American Film Institute in these lists:
Leone's intent was to take the stock conventions of the American Westerns of John Ford, Howard Hawks, and others, and rework them in an ironic fashion, essentially reversing their intended meaning in their original sources to create a darker connotation.[49] The most obvious example of this is the casting of veteran film good guy Henry Fonda as the villainous Frank, but many other, more subtle reversals occur throughout the film. According to film critic and historian Christopher Frayling, the film quotes from as many as 30 classic American Westerns.
The major films referenced include: