THE GOOD, THE BAD, AND THE UGLY (Sergio Leone, United Artists, 1967)

This past weekend the New Beverly Cinema had a screening of THE GOOD, THE BAD, AND THE UGLY (Sergio Leone, United Artists, 1967) and seeing as how this film is one of my top two or three favorite westerns ever made, of course I went to see it. I took two close friends with me and to my great surprise afterwards found out one of them had never seen the film. And she LOVED it! Nothing makes me happier than taking someone to see a great film and having them enjoy it so much that they can't believe they had never seen it before. And since this film is not only well known but most assuredly has been written about endlessly, I offer a list of the ten things I love about the film. In no particular order and definitely a non comprehensive one at that.

The most important part of any film is the story and this film provides an epic, sprawling narrative. The narrative works across multiple genres as a western, a buddy film, an epic. It works as an historical fiction incorporating the Civil War. It is also a treasure hunt. In regards to context within traditional cinema values it is the film use of the anti-hero which is most fascinating to me. Here we see a break from traditional classical Hollywood values with the films protagonist, a practice which will become entirely widespread in contemporary media.

2. The film has three outstanding protagonists. The Bad (Eli Wallach) is truly the heartbeat of the film. As the Bad you still want to root for him. He is like that little brother who never gets anything right but you feel sorry for him so you'll always help him out, no matter what. The Ugly (Lee Van Cleef) is your more traditional bad guy and he is outstanding as Angel Eyes. And The Good (Clint Eastwood). What can you not say about this superlative figure in American cinema? More on Clint later.

3. Leone's extensive use of long shots throughout the film. It creates distance, establishes the film as a sprawling epic, helps create tension. In the final scene, as Blondie leaves Tuco noosed upon the grave marker, the long shot of Blondie riding away builds tension for the audience. I have watched this film at least twenty times and seeing it again I still felt anxiety for Tuco. Brilliant use of the long shot as a cinematic technique.

4. Everyone knows the famous score and sound design. Just know that if I ever make a Western I am using the exact same bullet ricochet sounds Leone decided to use.

5. Watching the film now, some fifty years later it is cheesy and ridiculous AND so damn good! I love the film because it's dubbed, because of the awful sound effects used for bullets, because it is interminably paced at times.

6. The relationship between Tuco and Blondie. Who hasn't had a friendship with someone in which the other person was in no way, shape or form good for you to be around? But you couldn't stay away either?

7. Tuco and Blondie blow up the bridge. How excellent for Leone to insert not only an anti-war message into his film (at the height of the Cold War and Vietnam) but also to dramatize the folly of military endeavors at times as well as showcase the extreme waste wars make of young men. By blowing up the bridge, Tuco and Blondie throw up a big middle finger at the establishment.

8. The great lines, particularly this one uttered by Tuco. As he takes a bath (the only one in the film I might add) he is held up by a bandit he had left for dead earlier in the film. As the bandit inquires about Tuco's surprise at seeing him, Tuco shoots and simply says "you're gonna shoot, shoot. Don't talk". Cue that great score again.

9. Clint Eastwood. How many American men living today would be cowboys if they could be just like Clint is as "The Man With No Name"? If they could chew on and smoke weak cigars, wear a poncho, speak terse lines through gritted teeth? The line starts after me.

10. Hands down the best part of the film is the Mexican standoff ending/showdown between Tuco, Blondie and Angel Eyes. The composition of the scene, the gradual movement from long shots to extreme close ups, the ever quickening editing pace, stopping the score entirely and then re-starting it with a different track. All brilliant technical work. And just the idea of that standoff, not knowing who is gonna shoot who. Just an amazing seven minutes of film.

I've watched the film plenty of times and will continue to do so. My love for it never fades and as always I only hope to one day be apart of cinema that is so good.