A Fistful of Dollars
An unlicensed Yojimbo remake. Toho sued and won. Started everything.
Italian westerns shot in Spain. Dirtier, louder, and more cynical than the American kind.
Around six hundred westerns made by Italian companies between 1964 and the late 1970s, shot mostly in Almería in southern Spain, with international casts dubbed in post.
Sergio Leone's A Fistful of Dollars (1964) is an unlicensed remake of Kurosawa's Yojimbo, which Toho successfully sued over. It cost very little and made a fortune.
The American western had heroes. The Italian one has men who want money. Violence is ugly and frequent, the church and the state are corrupt as a matter of course, and the landscape is dust rather than monument valley grandeur.
Ennio Morricone did the other half of the work. Morricone's scores are half the reason several of these films are remembered at all.
The Zapata westerns, A Bullet for the General, Companeros, Duck, You Sucker, moved the setting to the Mexican Revolution and made the politics explicit. Sergio Corbucci's Django (1966) and The Great Silence (1968) are the bleakest things in the cycle. The Great Silence ends in a way no American studio would have permitted.
The Good, the Bad and the Ugly if you have somehow not. The Great Silence if you have.
An unlicensed Yojimbo remake. Toho sued and won. Started everything.
Van Cleef arrives and the formula locks into place.
Fonda cast against type as a child killer. Leone's masterpiece.
The cemetery sequence is the best three minutes in the genre.
Leone's revolution film. A Mexican bandit and an IRA dynamiter blow up the establishment together.
A coffin, a machine gun, and mud everywhere. Banned in Britain until 1993.
The comedy turn that ended the cycle by making it impossible to take seriously.
The spaghetti western attends its own funeral, cracking jokes. Fonda, Terence Hill, and Leone's fingerprints everywhere.
A gadget-toting gunfighter blackmails a whole town. Lee Van Cleef, having an obvious blast.
Revenge, Van Cleef, and a score Tarantino lifted wholesale.
Jodorowsky's mystical, violent acid western. It essentially invented the midnight movie.
The most openly political of the Zapata cycle, and the sharpest.
Corbucci in the snow. The ending would never have cleared an American studio.
Late, strange, half-sung by a folk narrator. Castellari's best film.
Zapata western with Franco Nero and a very good Morricone theme.
A gunfighter mentors a despised young man, then has to face what he created. Van Cleef at his best.
Sollima's smartest western: watch a decent man discover he likes it.
Corbucci's Zapata western. A Polish gun-for-hire, a peasant revolutionary, and Jack Palance in a frock.
Sollima's best. A manhunt that keeps turning into a political argument.
Nothing to do with Django, and one of the strangest and cruelest westerns Italy ever shot.
Fulci does a bleak, hallucinatory western. Four outcasts cross a hostile frontier. Most do not make it.
The French corner of the spaghetti cycle: gaunt, ritualistic, and dedicated to Leone.
Lee Van Cleef, one three-way showdown, and the Bacalov theme you know from Kill Bill.
The gadget-gunslinger spaghetti west arrives fully dressed in black.