The direction and production of A Fistful of Dollars by Sergio Leone

Critics panned it for its brutal depiction of an unloving West, but audiences loved it, and the Spaghetti Western took off like a bullet from a Colt .45.

A fistful of Dollars was followed by both companion pieces also staring Clint Eastwood as the laconic hero, troika films that made Eastwood an international star of cinema and helped shaped the air and image of the persona he would evolve on screen. That hero, whether he is Joe (the man with no name), Josie Wales, Dirty Harry, or William Munny remained true in many rooms to the timber he portrays in A Fistful of Dollars. So, too, future Eastwood films in which he was involved in production, especially westerns, have the indelible stamp of Le iodine's style. In Unforgiven, Eastwood brings the type full circle with his portrayal of William Munny. Like Joe in A Fistful of Dollars, Munny's motivation for doing away with the bad guys in Unforgiven is money. In the former film his motives for the money atomic number 18 selfish. The bad guys populate unless as obstacles to his getting his hands on the money, and the only difference in morality between Joe and the bad guys is that Joe spares absolved people. In Unforgiven, Bill Munny's motive for wanting the money offered by a group of whores, who want revenge on a man who cut the face of one of their own, is the welfare of his children. twain films express the human dilemma of the good and evil dominance of all individuals. In A Fistful of Dollars

Nudge, J. Spaghetti westerns. Available: http://www.images journal.com/issue06/infocus/spaghetti.htm, 2002: 1-4.

Aside from characterization, anti-heroic and misanthropic sentiment, pictorial violence, numerous gritty close-ups, and the use of humor, both films share supernumerary directorial and stylistic touches.

Music takes on the role of an additional character in each film, often replacing dialogue and apply to heighten emotional impact. Ennio Morricone's score in A Fistful of Dollars is sweeping and often discordant which adds to the tense environment. In Unforgiven the symphony is softer and acts as a respite from the violence in the environment. Nevertheless, medication is also used in both films to help work out time and space. This is most evident in sweeping shots of the grace when characters are en route to a new destination, are nursing their injuries, or are plotting their next plan of action. Compared to the fast-paced, bowelless tension of contrasting scenes, the use of music in this way during non-violent scenes serves to slow down time.

The cynicism in the above statement is evident, and this secondment is reinforced later in the film when Munny is about to eat Little Bill. The exchange they have is not only cynical but it is an acknowledgement by both of them that neither one is an "angel":

A Fistful of Dollars, (Film). Directed by Sergio Leone. USA, 1967: 99 min.

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