Sergio Leone Seen Once In America Like A Cinematic Grim Reaper

Sergio Leone’s filmmaking instincts don’t tire. After getting his footing with “A Fistful of Dollars,” he masterfully composed Western epics on the big screen with heavy references to their genre predecessors. You don’t have to be a movie buff to love a Leone film, but your enjoyment is sure to be heightened, especially across multiple perspectives, when you realize that he’s cleverly dubbed the film. incorporates the works of John Ford, Howard Hawks, Anthony Mann and into his legendary vision of the West. And while his Italian perspective, which spawned the “Spaghetti Western” label, gives these films a vaguely European feel, he largely connects with audiences around the world. because he speaks fluent cinematic language.

Leone may be a great filmmaker, but he’s not that famous. He only speaks when he has something to say. This is why, after finishing “Duck, You Sucker” in 1971, he turned down Paramount’s offer to direct “The Godfather” and spent the next 10 years of his life developing a love affair. his love “Once Upon a Time in America”. ” This will be his first time working in the field of another quintessential Hollywood genre, gangster movies, so it’s important for him to perfect the visuals while adding elements. his own special information.As with “Once Upon a Time in the West,” he wanted to make the greatest, mythical mob movie of all time.Though he pulled it out, he didn’t. can’t help feeling a little bleak about the future of his favorite medium that’s completely disproportionate.

Leone is the last of his breed

Three years after the 1984 release of “Once Upon a Time in America” ​​(The Ladd Company slashed its four-hour run to an incoherent 139-minute mess for the theatrical release). America), Leone to ASX’s Marlaine Glicksman that he believes his form of filmmaking is out of date. The new Hollywood era of the 1970s was over. Movies are getting smaller and/or more formulaic. The appetite for sweeping epics, planning your day around them quickly diminishes.

Here’s how he gave it to Glicksman:

“I’ve always had the feeling that people in America are always at the forefront. Very attentive to all the new innovations. But it is very specialized. The American public is a very specialized public. The reason it is considered a the movie is realistic because inside the fable, I’ve put that kind of reality in. And it could easily be called, instead of ‘Once Upon a Time in America’, ‘Once Upon a Time’ there. a certain genre of cinema.” Because it’s also an homage to cinema. And I’m also a bit pessimistic. Because I don’t know yet that that genre of film will become more and more extinct, so there will be no more. Because there will always be more movies that win five Oscars like ‘Terms of Love.’ “

Leone will hate superheroes

If Leone had a problem with James L. Brooks’ exquisitely choreographed family drama, he’d be horrified if he lived to see Weinstein-i-ionization of the famed 1990s film. Movies like “The Cider House Rules,” “Chocolat,” and “Iris” were played as if they had been cut off with only the Oscar reels remaining. They’re meant to be highly intellectual adult dramas, but they’re both as formulaic as an Ashley Judd thriller. And god knows how he will react at the beginning of the superhero era.

There are good financial reasons for getting rid of major sagas like “Once Upon a Time in America”. Michael Cimino’s “Gateway” ruined United Artists, while The Ladd Company was effectively shut down by the poor box office performance of Philip Kaufman’s “The Right Stuff”. Hollywood executives have become risk-averse for fear of losing their jobs. Leone realized this in the late 1980s when he scrambled for $100 million from Russian investors to implement “900 Days: The Siege of Leningrad”. He was still $50 million short when he died of a heart attack in 1989.

Leone has likely come close to her desired budget by securing the participation of big names like Robert De Niro, but would the US be interested in a World War II movie produced by the United States? Bucket set in glasnost era it? Probably not, and it would probably at least put Leone in director’s jail. There isn’t a movie buff alive today who doesn’t mourn what may have happened, but it could have been a tragic end to Leone’s career. Perhaps for the best, he didn’t live to see his pessimistic outlook turn into a harsh reality. Sergio Leone Seen Once In America Like A Cinematic Grim Reaper

Fry Electronics Team

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