The Dollars Trilogy Pt 3: THE GOOD, THE BAD, & THE UGLY (United Artists 1966)


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THE GOOD, THE BAD, AND THE UGLY is the GONE WITH THE WIND of Spaghetti Westerns, Sergio Leone’s masterpiece, and definitely in my Top 5 Favorite Films. After turning the genre upside down with A FISTFUL OF DOLLARS and inside out with FOR A FEW DOLLARS MORE, Leone’s final entry in his triptych of films starring Clint Eastwood as The Man With No Name is an ambitious epic about greed, revenge, and the futility of war, told with a warped sense of humor and plenty of action. Besides Eastwood and FEW DOLLARS co-star Lee Van Cleef, Eli Wallach joins the cast in a performance that should have won the Oscar.

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We’re first introduced to Angel Eyes (Van Cleef), who’s one mean mutha. Sent to find information on the location of stolen Confederate gold, he kills his informant, then kills the man who hired him, and begins his search for “Bill Carson”. Meanwhile…

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The Dollars Trilogy Pt 2: FOR A FEW DOLLARS MORE (United Artists 1965)


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After the huge international success of his A FISTFUL OF DOLLARS , Sergio Leone was red hot. Another Spaghetti Western was hastily written by Leone and Luciano Vincenzoni (and an uncredited assist from Sergio Donati), but FOR A FEW DOLLARS MORE is pure Leone, from the visual style to the bits of humor interspersed between the violence. Clint Eastwood returned as The Man With No Name, paired this time with veteran Western heavy Lee Van Cleef as the beady-eyed Colonel Mortimer.

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Eastwood’s character (briefly referred to as ‘Manco”) is a fast-drawing bounty hunter. He’s interested in the $10,000 reward for escaped killer/outlaw Indio. Mortimer is also interested in Indio, but has another motive: a young Indio raped his sister, resulting in her suicide during the act. The two meet up in El Paso, where Indio plans to rob the bank’s estimated one million dollars, kept in a secret cabinet. Manco and Mortimer engage in pissing contest…

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The Dollars Trilogy Pt 1: A FISTFUL OF DOLLARS (United Artists 1964)


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If the American Western film wasn’t completely dead in 1964, it was surely on life support. Television had saturated the market with weekly oaters to the point of overkill. John Wayne’s starring vehicles were still making money, but the rest of Hollywood’s big screen Westerns were mainly made to fill the bottom half of double feature bills, from Audie Murphy outings to the low budget, veteran laden films of producer A.C. Lyles.

Meanwhile in Italy, writer/director Sergio Leone was as tired of the sword & sandal films he was making as was his audience. He had a notion to revitalize the failing western genre by giving it a new, European perspective. Leone grew up on Hollywood westerns, and wanted to turn them on their ear by showing a more realistic, grittier version of the Old West. Searched high and low for an American name actor to star, Leone was turned down by the likes of Charles Bronson, James Coburn, and Rory Calhoun…

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The Game’s Afoot: THE SEVEN-PER-CENT SOLUTION (Universal 1976)


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Sherlock Holmes has long been a favorite literary character of mine. As a youth, I devoured the Sir Arthur Conan Doyle stories, marveling at the sleuth’s powers of observation and deduction. I reveled in the classic Universal film series starring Basil Rathbone and Nigel Bruce as Holmes and Watson, and still enjoy them today. I read Nicholas Meyer’s 1974 novel “The Seven-Per-Cent Solution” as a teen, where a coked-out Holmes is lured by Watson to Vienna to have the famed Sigmund Freud cure the detective of his addiction, getting enmeshed in mystery along the way. I’d never viewed the film version until recently, and while Meyer’s screenplay isn’t completely faithful to his book, THE SEVEN-PER-CENT SOLUTION is one of those rare instances where the movie is better than the novel.

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This is due in large part to a pitch-perfect cast, led by Nicol Williamson’s superb performance as Sherlock. We see Holmes at his worst…

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Lunatic Fringe: Wheeler & Woolsey in HOLD ‘EM JAIL (RKO 1932)


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The comedy team of Wheeler & Woolsey is pretty esoteric to all but the most hardcore classic film fans. Baby-faced innocent Bert Wheeler and cigar-chomping wisecracker Robert Woolsey made 21 films together beginning with 1929’s RIO RITA (in which they’d starred on Broadway), up until Woolsey’s untimely death in 1937. I had heard about them, read about them, but never had the chance to catch one of their films until recently. HOLD ‘EM JAIL makes for a good introduction to W&W’s particular brand of lunacy, as the boys skewer both the prison and college football genres, aided by a top-notch comic supporting cast that includes a 16-year-old Betty Grable.

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Football crazy Warden Elmer Jones (slow-burn master Edgar Kennedy ) is the laughing-stock of the Prison Football League. His team hasn’t had a winning season in years, and he sends a message to the president of “the alumni association” to send some new recruits “for the old…

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Fall in Love with LAURA (20th Century Fox 1944)


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If you’re like me, you’ve probably watched LAURA more than once. It’s one of the top film noirs, indeed one of the top films period of the 1940’s. LAURA is unquestionably director Otto Preminger’s greatest achievement; some may argue for ANATOMY OF A MURDER or even ADVISE AND CONSENT, and they’re entitled to their opinions. But though both are great films, only LAURA continues to haunt the dreams of classic movie lovers, its main themes of love and obsession transferring to its fans even 73 years after its initial release.

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Preminger, along with scenarists Jay Dratler, Samuel Hoffenstein, and Betty Reinhart, weave an intricate, sinister tapestry around the violent death of beautiful New York ad exec Laura Hunt. Cynical police detective Mark McPherson is determined to solve this particularly gruesome murder; Laura was killed at close range by a buckshot-loaded shotgun blast to the face. McPherson begins by questioning Waldo Lydecker, the acerbic newspaper columnist who relates…

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The Perfect Crime Film: KANSAS CITY CONFIDENTIAL (United Artists 1952)


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My friend Rob suggested I review KANSAS CITY CONFIDENTIAL awhile back, and I’m sorry I waited so long. This is a film noir lover’s delight, packed with tension, violence, double-crosses, and a head-turning performance by John Payne in the lead. Made on an economical budget like the same year’s THE NARROW MARGIN , director Phil Karlson and George Diskant create a shadowy, claustrophobic atmosphere brimming with danger at every turn.

I knew Payne mainly from his 40’s musicals and his idealistic lawyer opposite Maureen O’Hara in MIRACLE ON 34TH STREET, but he’s a revelation here as Joe Rolfe, a florist truck driver who’s set up as a patsy by a gang of armored car robbers. He can dish out (and take) beatings with the best them, and delivers the tough-talking dialog with aplomb. KANSAS CITY CONFIDENTIAL helped Payne shed his lightweight image, and he went on to do other dark crime films and rugged…

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