Leones Spaghetti :: essays research papers fc

Leones SpaghettiThe spaghetti western, Sergio Leones conscious departure from what had come to be known as the classic western formula, became a modification of the conventions of the tralatitious genre. In the film For A Few Dollars More (Per qualque dollaro in pi, 1965), Leones formula is developed through a reformed narrative structure, minute changes in the traditional characters, his unique style, and the simple use of language, which revolutionized the western.The American classic western formula, according to Peter Bondanella in his essay A Fistful of pasta Sergio Leone and the Spaghetti Western, employed a combination of narrative possibilities generated by three central roles the townspeople (agents of civilization) savages or outlaws, who threaten the first group and heroes, men who share trusted characteristics of the second group, but who act ultimately on behalf of the representatives of civilization (Bondanella, 255). Leones modification of the traditional narrativ e structure removed the townspeople, and in doing so eliminated civilization. He kept the outlaws, headed by an evil man with some sort of psychological scarring. Instead of one hero, there are two, who act not on behalf of nightclub and order but their own personal gain. For A Few Dollars More revolves around these three main characters.The first character introduced by Leone to the audience is Colonel Douglas Mortimer (Lee vanguard Cleef), a retired soldier and bounty hunter motivated not only by profit but also the thirst for revenge (Bondanella, 257) of his sisters rape and death. He is a professional, who stalks his target from a distance with an assortment of rifles rolled up in his saddlebags but to contrast with this cold delusion, Mortimer dresses in his unforgiving preachers costume and is a habitual reader of the Bible. He represents the older, wiser generation, which is destined to be extinct. Next, Leone introduces Mortimers competition and opposite, Manco (Clint Eas twood), a young stranger with his cigars and poncho, who blends with his surroundings. He is a bounty hunter who kills purely for profit and approaches his victims directly. Finally, the audience is introduced to a doped-up Mexican killer, Indio (Gian Maria Volont), whose degenerate pleasure in violence is linked to the moment, eld before, when the death of Mortimers sister traumatized him sexually, and is constantly reminded of the incident by the chiming of the musical watch he carries, which matches Mortimers. (Bondanella, 257)Mortimer and Manco, at first in competition with each other, substance forces against Indio and his gang of criminals in order for each to achieve their goal through a partnership.