A Fistful of Dollars – Per un pugno di dollari – Film 1964
Compared with traditional American westerns, the heroic cowboy in the film is no longer pure embodiments of justice, although the qualities of bravery and wit are fully embodied. But compare with the traditional American western, the lead character of the Italian western is more of a bounty hunter, a ranger, and a libertine. They fought for money, but not only for money. Usually, American westerns are used to express the American myth of the West, but in this film, the expression is not very clear cut, more like a foreigner’s view toward a culture of the American West.
Music is a great success of this film, good music can make a movie much better. When thinking about this movie, besides the backdrop of the main character riding away on horseback and the barren-looking desert, what left in my mind is the loud distant human whistle, with strong rhythm drum and the harmony of all kinds of instrument and be like a man for the horse. The music matches the style of the entire film. The tone of the picture is so cold and stark that a good movie can’t be made without the coordination of every detail, and these elements work together seamlessly to create such an immortal classic movie.
There is more manpower in this movie than any movie I’ve ever seen that bills itself as a “movie of masculine”, and Clint Eastwood’s image has left an indelible mark on movie history, showing off his charisma without having to take off his shirt to reveal his eight-pack abs. The pistol that has killed countless villains, the whistle in the background, the expression of indifference, the dashing and provocative words, and the silent but powerful backdrop that all reveals to the audience. His name is seldom mentioned in the film, and I, an incompetent viewer, did not even vaguely recall that his name, which seemed to be Joe, until the very end of the film. He is such a cosmopolitan, witty brave cowboy, like a regiment adrift in the wind, with his vicissitudes, travel from place to place without stopping. This is the androgynous tension that belongs to Clint and Leone.
By contrast, The weight of the female character is the movie was completely weakened. The female lead character in the movie cannot even be called a lead character. The film completely gets rid of the pattern of hero and beauty without emotional clues of lead characters. I’m impressed that the female character is completely materialized as an item in the arbitrary plunder, and I’m also impressed by another female character is the powerful lady of the American mob, who the lady is also a change of female image in the eyes of most people. domineering, scheming and decisive, she lacks some feminine traits but was masculinized. Without getting into the director’s intentions here, the director may just want to portray a story that belongs to men. But it is undeniable that in most movies and TV shows, women are traditionally weak, helpless and waiting to be rescued, which leaves a stereotype that they are wake so they are vulnerable. The more powerful women would appear “manly”. I can’t convince myself that it’s not a prejudice, but it’s not the director’s prejudice. I can’t convince myself that it’s not a prejudice, but it’s not prejudice of the director, but prejudice of society.
As a unique genre film in Hollywood, the deep cultural symbol behind western movies is the myth of The American people’s exploitation of the West. Traditional American westerns always regard Indians and other local indigenous people into the absolute negative role, which contains some deep-rooted colonial consciousness. In reality, Americans are the invaders who plunder and seize the land originally belonging to the Indians, but in the movie, they are portrayed as the saviors who save the uncivilized Indians. as of old written countless presented by history – history is always the winner. All that blood and tears have been quietly erased, leaving behind only the heroic and righteous cowboys, the “pioneers”. This is a kind of concept substitution, which justifies aggression, and when the unjust aggressor becomes the embodiment of righteousness to punish the victim who turned out to be evil, our logic has been altered and rewritten in a twisted way – aggression is righteousness. This is similarly weakened in “Per un pugno di dollari”, that focus no longer on race, but more on both sides of the confrontation. The “American Dream” no longer seems to be so loudly promoted in this story. A good movie will bring people many thoughts and many feelings, which are the values of a good movie. What a movie can bring us is not only its plot but its spirit, esthetic value and social significance, which can all pass through time and region of the world. That’s what we mean by classics movies, classics from eternity.