A mysterious stranger with a harmonica joins forces with a notorious desperado to protect a beautiful widow from a ruthless assassin working for the railroad.
Sergio Leone may have only directed seven films in his lifetime, but his impact on the world of cinema is undeniable. His iconic trilogy – “A Fistful of Dollars,” “For a Few Dollars More,” and “The Good, the Bad and the Ugly” – catapulted then-unknown actor Clint Eastwood to international stardom. Leone had a knack for crafting not just films but experiences – and he wasn’t afraid of pushing the boundaries of time.
Consider this: while most movies in the ’60s and ’80s clocked in at under 90 minutes, Leone’s epics like “The Good, the Bad and the Ugly” and “Once Upon a Time in the West” rolled up to the three-hour mark. His swan song, “Once Upon a Time in America,” tipped the scales at nearly four hours. But Leone’s films were never just about quantity – they were about immersing audiences in a world of his creation.
Take “Once Upon a Time in the West.” This sprawling Western is hailed as a masterpiece by critics and cinephiles, but for this writer, it’s a film that showcases Leone’s strengths and weaknesses in equal measure. The tale of Harmonica, a mysterious gunslinger driven by revenge, is a classic one – but does it truly require three hours to unfurl? Leone was a master of atmosphere and tension, and he packs the film with memorable characters and subplots. Yet, at its core, “Once Upon a Time in the West” remains a simple story of a man and his quest for vengeance.
That man, of course, is Harmonica – played with laconic intensity by Charles Bronson. Haunted by the murder of his brother at the hands of the ruthless outlaw Frank, Harmonica has returned to the dusty town of Flagstone seeking retribution. Their inevitable showdown will only end with one man standing.
Leone initially turned down the chance to direct “Once Upon a Time in the West,” feeling he had said all he needed to say about the Western genre with his “Man with No Name” trilogy. But the prospect of working with his idol, Henry Fonda, proved too enticing to resist. Fonda, known for his roles in “12 Angry Men” and “The Grapes of Wrath,” was initially hesitant – until Leone convinced him to play against type as the cold-blooded killer Frank.
The result is a film that feels quintessentially Leone while also marking a new chapter in his career. Gone is the frenetic energy of his earlier work, replaced by a more measured, reflective pace. The famous opening scene, in which three gunslingers await the arrival of Harmonica, is a masterclass in building tension from nothing. A man futilely tries to shoo a fly from his face, while another stands patiently under a dripping water pipe, waiting for it to fill the brim of his hat so he can take a drink. The silence is finally broken when Harmonica steps off the train – and the men realize, too late, that they have made a fatal mistake.
Shot on location in Arizona’s Monument Valley and Spain, “Once Upon a Time in the West” is a visual feast. Leone and his cinematographer, Tonino Delli Colli, capture the harsh beauty of the American West in stunning 2.35:1 Techniscope. From the endless expanses of desert to the weathered faces of the characters, every frame is a work of art.
“Once Upon a Time in the West” would be Leone’s penultimate film, followed by the offbeat Western comedy “Duck, You Sucker!” and, 13 years later, his American epic “Once Upon a Time in America.” It’s a testament to Leone’s boundless talent and creativity that he could leap between genres so effortlessly, always leaving his indelible mark.
But it’s impossible not to feel a pang of sadness when thinking about the films Leone never got to make. This was a director who only improved with age, pushing the boundaries of his craft with each new project. His influence can still be felt today, from the work of Sam Peckinpah to Quentin Tarantino. The world of cinema is a richer place because of Sergio Leone – and a sadder one for having been deprived of his genius far too soon.
Leone’s longtime collaborator, the legendary composer Ennio Morricone, provided the score for “Once Upon a Time in the West.” While it’s a typically evocative and haunting work, it can’t help but feel overshadowed by Morricone’s iconic themes for “The Good, the Bad and the Ugly.” That film’s score has become synonymous with the Western genre and continues to influence composers to this day. But “Once Upon a Time in the West” remains a vital chapter in the Leone-Morricone partnership, a testament to the magic that happened when these two masters of cinema collaborated.
Sergio Leone may have only given us seven films, but what a seven it is. From the sun-scorched landscapes of his Westerns to the mean streets of his American epic, Leone’s work continues to captivate audiences and inspire filmmakers. He may be gone, but as long as his films continue to be seen and studied, a part of him will always remain. For Sergio Leone was a true original, a director who followed his vision no matter where it led. And it’s that vision that will endure long after the final credits have rolled.
Available on 4K Ultra HD™ Digital and 4K Ultra HD™ Blu-ray™ Disc May 14th
