#Man with no name conversion movie#
#Man with no name conversion full#

#Man with no name conversion full#

The picture is full of iconic moments, culminating in the classic three-way, five-minute-long face-off in a graveyard where Ennio Morricone's score essentially becomes a fourth character. The director's view of the gunfighter wasn't a glamorous or traditionally heroic one, unlike most of Hollywood's had been in the preceding years, but instead Leone took a wry and often humorous approach, adding grand flourishes of style and (dare we say this about Clint Eastwood?) flamboyance to his shooters. But it's probably Wallach's character, actually, who sums up Leone's true view of the Western landscape - it was an ugly, dirty, horrid place, full of violence and happenstance and irony. Really, the three characters are all pretty nasty in their selfishness and single-minded devotion to finding some lost Confederate gold no matter by what means. He is the titular Good, if only barely when compared with Lee Van Cleef's Bad and Eli Wallach's Ugly. Just as in the first two films, the Man with No Name makes his way through the Old West landscape on a mission of personal gain, and very occasional altruism. The Good, the Bad and the Ugly Finally we come to what is commonly considered to be the best in the series, The Good, the Bad and the Ugly. Originally reviewed for IGN DVD by Kevin Archibald. Leone likes to hit the cliches, but he does it a timeless style all his own. Ennio Morricone' signature, whistling theme punctuates this piece with its driving mariachis and even a pipe organ. There's some great throwaway lines, posturing and humor here.

It's cool, fun, macho and doesn't let realism get in the way of the plot. Of course, as these things usually go, alliances change quickly, no one can be trusted. Sizing up the task at hand, they form an uneasy partnership. Mortimer вЂ“ who relies on his hunting ability, prowess and gadgetry вЂ“ on the trail of the same quarry. The smell of a few dollars more brings both the young Monco and the more experienced bounty hunter Col. When the infamous bandit Indio is busted out of jail by his men, an unheard-of price of $10,000 is placed on his head. Eastwood returns, calling himself 'Monco' (which yeah, is technically a name, but no more real than 'Joe' was in the first or 'Blondie' is in the third). With lots of action and a tight story, this middle installment holds its own against the other two films series, no easy feat considering they're two of the greatest Westerns ever made. For a Few Dollars More Just one year after The Man with No Name made his debut, Sergio Leone returned to the West with this follow-up. Originally reviewed for IGN's Top 25 Westerns feature. Hint: It's always the guy who squints and rarely speaks. No one is truly a good or bad guy here, and that's because all that matters in Fistful is who has the quickest draw and deadliest aim. This plot would later be loosely remade in the Bruce Willis/Walter Hill collaboration Last Man Standing, but that film can't hold a candle to Leone and Eastwood's fun exploration of honor in an honorless time. The Man With No Name decides to take advantage of the conflict and play both sides of each other, in the hopes of getting rich (and not dead) in the process. Sporting a permanent five-o'clock shadow and a never-miss aim, Eastwood rides into a town torn by war between two factions - the Baxters and the Rojo's.

#Man with no name conversion movie#

A Fistful of Dollars The first movie in Sergio Leone's 'Man With No Name' Trilogy, Dollars introduces us to Clint Eastwood's take on the brooding gunslinger, forging an iconic screen presence in the process.