Time Phrase
00:01:38 One of the gunfighters is making
a cat-like face at this caged bird.
00:01:41 It's all very threatening
macho behaviour.
00:01:52 There's usually a character
of a crazy old man in Leone's films,
00:01:56 For a Few Dollars More
and so on.
00:01:58 The station agent here
plays that role.
00:05:32 Woody Strode meanwhile is standing
under some rusty water
00:05:36 dropping on his fabulous bald head.
00:05:39 Woody Strode, ex-American footballer,
had appeared in John Ford's films
00:05:43 Sergeant Rutledge, The Man Who Shot
Liberty Valance and other Westerns,
00:05:47 and, in the way that Sergio Leone
did his casting,
00:05:43 Sergeant Rutledge, The Man Who Shot
Liberty Valance and other Westerns,
00:05:47 and, in the way that Sergio Leone
did his casting,
00:05:51 he brought with him
all those John Ford films.
00:05:54 AI Mulock had appeared in various
ltalian Westerns,
00:05:58 including a Lee Van Cleef film.
He's the one pulling on his knuckles.
00:07:06 Leone has this extraordinary ability
00:07:09 to combine grungy close-ups
with epic landscapes.
00:07:14 A lot of his films have these
big faces in Techniscope close-up,
00:07:19 with every pore, every piece of
beard, every aspect of physiognomy,
00:07:24 as if it's carved out of the geology
of America or Spain.
00:32:56 Certainly, it would be unusual
for someone dressed like her
00:32:59 to walk into a flyblown trading post
in the middle of Arizona.
00:33:17 This is the sort of low comedy
you find in a lot of Leone's films,
00:33:20 where having had a rather dramatic
sequence, Jill, desolated
00:33:25 because she hasn't been met
at the station by Brett McBain,
00:35:39 always in slightly convoluted way.
He loves trompe l'oeil,
00:35:43 he loves indirect dialogue, he loves
what he calls cinema cinema,
00:35:47 which is references to other films,
00:35:50 and a kind of surreal approach
to setting up his scenes.
00:35:53 Very seldom do things happen
in your face,
00:53:36 as the cold-eyed mean avenger,
the righteous seeker-after-justice,
00:53:42 who's not averse
to a bit of strong-arm tactics.
00:53:47 And of course you see that throughout
his thriller films of the 1 970s.
00:54:01 Jill's discovery in this sequence of
the models of the Sweetwater Station
00:54:06 which Brett McBain
had planned to build,
01:01:31 Well, l was really lucky to know
Sergio Leone very, very well,
01:01:36 because for years he would come over
01:01:39 and try and convince me
to write one of his films.
01:01:44 And it was a great honour
that he felt that way,
01:01:47 except he wanted me to write
Once Upon A Time ln America,
01:07:53 One might be tempted
to think of Morton
01:07:57 as virtually a figure
out of the same sort of fantasy
01:08:02 that the James Bond films represent.
01:08:04 He's not a million miles away
from the Ernst Stavro Blofeld
01:08:09 or similarly disabled or disfigured
super villains in the Bond series.
01:08:09 or similarly disabled or disfigured
super villains in the Bond series.
01:08:16 And, of course, Gabriele Ferzetti
whose most distinguished work
01:08:22 was in such European films as
Michelangelo Antonioni's L'Avventura,
01:08:28 was also a featured player
in On Her Majesty's Secret Service,
01:08:33 the Bond film of 1 969
which immediately followed this film.
01:43:26 played by Keenan Wynn,
01:43:28 a part that was originally
to be played by Robert Ryan.
01:43:32 And he's one of the few not-corrupt
sheriffs in Leone's films.
01:43:36 Usually, the sheriff is on the take
01:43:39 or in some way
in the pay of the baddies.
01:44:29 in Liberty Valance. And, in fact,
Leone once told me that it was,
01:44:34 "The Ford film l like most of all,
as we're nearer to shared values."
01:44:39 It's the least sentimental of Ford's
films. It's about the conflict
01:44:43 between political and economic forces
and the hero of the West.
01:44:47 That behind the hero of the West
is capitalism,
01:47:35 Iike a kind of wheezing person
in the desert.
01:47:38 You constantly get
that huffing and puffing sound,
01:47:41 which is very distinctive
in Leone's films.
01:47:49 Like some asthmatic person
in the desert.
01:48:06 And they're not quite sure
what's going on.
01:57:43 Iike Fonda just did.
01:57:44 That's a technique that
Leone used in the spaghetti Westerns,
01:57:50 in the Eastwood films.
It's a lot of fun.
01:57:53 You can't use it all the time,
it becomes too humorous,
01:57:56 but it's a nice punctuation.
01:59:15 Now he may be the hunted.
01:59:26 Once again Bronson is us.
01:59:29 Almost like in Hitchcock films,
where he looks our attention goes.
01:59:35 This is one of my favourite
sequences here.
01:59:38 We got... Claudia in the bathtub.
There we go.
02:12:22 And we get his theme
played like a trumpet dirge,
02:12:26 Iike a Mexican mariachi band
playing his entry.
02:12:30 There'd been a similar theme
in all Leone's films up to now,
02:12:34 the funeral dirge which signals
that there's going to be a duel.
02:12:38 So Frank arrives
and Bronson sits still,
02:13:20 that'll be squeezed out of the West
by new technology, by the railroad.
02:13:24 A deep nostalgia for the heroes
of the old West, for the old Western,
02:13:30 a nostalgia for the films of Leone's
childhood comes out in this exchange.
02:13:35 And, in fact, it's indirectly based
on a piece of dialogue
02:13:39 from Lampedusa's novel The Leopard,
(What's this?)
