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Sergio Leone borrowed some of John Ford’s ‘pessimism’ for a time in the West

Leone’s Spaghetti Western is a slow man. His “Man with No Name” trilogy, starring Clint Eastwood, cast doubt on the authoritative cinematic history of Ford and his colleagues. Eastwood played a mercenary in the first film, but after working from Akira Kurosawa’s ronin of the people role model in “A Fistful of Dollars,” the director veered in a skeptically malicious direction with his next two films. Then came “Once Upon a Time in America.” Sam Peckinpah’s “The Wild Bunch” is considered by many to be the most important Western revisionist work to emerge from the Classical era run by Ford, but Leone’s elegiac story is, aesthetically and sentimental, is the film that dissapoints “The Man Who Shot Liberty” Valance “to create a bold new grammar for an almost unrelated genre.

Leone on the importance of Ford’s final masterpiece before his death in 1989 at the age of 60.

“My favorite Ford movie – because we’re getting closer to shared values ​​- is also the least emotional, ‘Freelance Shooting Man’.” We definitely watched that as we prepared ‘Once Upon a Time’. Because Ford finally, at almost 65 years old, finally understood what pessimism was. In fact, with that film, Ford succeeded in eroding all of his earlier words about the West – the whole speech he promoted from the very beginning of his career. Because ‘Liberty Valance’ shows the conflict between political forces and the lone hero of the West… He loved the West and with that movie he finally understood it. “

https://www.slashfilm.com/964461/sergio-leone-borrowed-some-john-ford-pessimism-for-once-upon-a-time-in-the-west/ Sergio Leone borrowed some of John Ford’s ‘pessimism’ for a time in the West

Fry Electronics Team

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