Sergio Leone sums up the entire Italian film industry by starting the film with a beautifully framed and composed shot of...Rod Steiger pissing on some ants. And thus starts his fifth and final Spaghetti Western that some people declare a classic while others declare it a failure. Sure, it's got virtually no plot and just sort of meanders along for two and a half hours, but it's got Rod Steiger as a Mexican and it's directed by Sergio Leone - it's great!
Rod plays Juan, a bandit leader who tricks his way onto a lush carriage full of rich folk who treat him like he's some kind of disease (amazingly acted by Steiger as he plays up to their bigoted expectations), before turning the tables on them and robbing them of everything they have - including the carriage. It's not long after that Juan meets Sean (or John), who of course is an ex-member of the IRA and loves blowing everything up.
Sean/John is played by James Coburn who is literally dressed from head to toe in dynamite, and Juan has a religious experience when he realises that Sean is the key to the bank that Juan has always wanted to break into. The problem these days is that the Mexican revolution is going on and there's soldiers everywhere...and Juan does not want anything to do with no revolution...
Although Leone takes his sweet, sweet time digging a plot out of this one, it's such a delight to watch Rod Steiger being Mexican. He slides from wide eyed peasant innocence to rage and his interactions with Coburn are hilarious (usually because Coburn tells him to shut up most of the time). And the cursing! Eeh - the language!
Speaking of Coburn, he's having a problem with flashbacks throughout the film - Irish flashbacks involving David Warbreck! Warbreck would go on to be a leading man in Italian films shortly but here he just seems to be involved on some confusing romantic love triangle mixed with paramilitary business. Were they sharing that woman or were they all into each other?
There's no iconic gunfights here but there are some large scale battles and a lot of epic tracking shots that depict the carnage of the revolution. Italian minatures master and awesome director in his own right Antonio Margheriti provides the tiny train special effects.
I haven't mentioned a story because there isn't one.
Rod plays Juan, a bandit leader who tricks his way onto a lush carriage full of rich folk who treat him like he's some kind of disease (amazingly acted by Steiger as he plays up to their bigoted expectations), before turning the tables on them and robbing them of everything they have - including the carriage. It's not long after that Juan meets Sean (or John), who of course is an ex-member of the IRA and loves blowing everything up.
Sean/John is played by James Coburn who is literally dressed from head to toe in dynamite, and Juan has a religious experience when he realises that Sean is the key to the bank that Juan has always wanted to break into. The problem these days is that the Mexican revolution is going on and there's soldiers everywhere...and Juan does not want anything to do with no revolution...
Although Leone takes his sweet, sweet time digging a plot out of this one, it's such a delight to watch Rod Steiger being Mexican. He slides from wide eyed peasant innocence to rage and his interactions with Coburn are hilarious (usually because Coburn tells him to shut up most of the time). And the cursing! Eeh - the language!
Speaking of Coburn, he's having a problem with flashbacks throughout the film - Irish flashbacks involving David Warbreck! Warbreck would go on to be a leading man in Italian films shortly but here he just seems to be involved on some confusing romantic love triangle mixed with paramilitary business. Were they sharing that woman or were they all into each other?
There's no iconic gunfights here but there are some large scale battles and a lot of epic tracking shots that depict the carnage of the revolution. Italian minatures master and awesome director in his own right Antonio Margheriti provides the tiny train special effects.
I haven't mentioned a story because there isn't one.