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Film genre

The Spaghetti Western is a broad subgenre of Western films produced in Europe. It emerged in the mid-1960s in the wake of Sergio Leone's film-making mode and international box-office success.^[1] The term was used by strange critics because well-nigh of these Westerns were produced and directed past Italians.^[2]

Leone's films and other core Spaghetti Westerns are frequently described as having eschewed, criticized, or even "demythologized"^[three] many of the conventions of traditional U.S. Westerns. This was partly intentional and partly the context of a unlike cultural background.^[4]

Terminology [edit]

Co-ordinate to veteran Spaghetti Western histrion Aldo Sambrell, the phrase "Spaghetti Western" was coined past Spanish announcer Alfonso Sánchez in reference to the Italian food spaghetti.^[v] The Spaghetti Western is also known as Italian Western or (primarily in Nippon) Macaroni Western.^[6] The denomination for these films in Italy is western all'italiana (Italian-style Western). Italo-Western is also used, especially in Germany. The term Paella Western has been used for the many Western films produced in Spain.^[7] The term Eurowesterns may be used to also include similar Western movies that were produced in Europe without involvement by Italians, such as the West German Winnetou films or the Eastward German language Red Western films.

Production [edit]

The bulk of the films in the Spaghetti Western genre were really international co-productions between Italy and Spain, and sometimes France, W Germany, Britain, Portugal, Greece, Israel, Yugoslavia, or the U.s.a.. Over 6 hundred European Westerns were made between 1960 and 1978.^[8]

These movies were originally released in Italian or with Italian dubbing, but equally virtually of the films featured multilingual casts and audio was post-synched, near "western all'italiana" exercise non have an official dominant language.^[9]

The typical Spaghetti Western team was made upward of an Italian director, Italo-Spanish^[x] technical staff, and a bandage of Italian, Spanish, and (sometimes) West German and American actors.

Filming locations [edit]

Most Spaghetti Westerns filmed between 1964 and 1978 were made on low budgets and shot at Cinecittà studios and various locations effectually southern Italy and Spain.^[11] Many of the stories take identify in the dry landscapes of the American Southwest and Northern Mexico, hence mutual filming locations were the Tabernas Desert and the Cabo de Gata-Níjar Natural Park, an area of volcanic origin known for its wide sandy beaches, both of which are in the Province of Almería in southeastern Spain. Some sets and studios built for Spaghetti Westerns survive as theme parks, such as Texas Hollywood, Mini Hollywood, and Western Leone, and continue to exist used as flick sets.^[12] Other filming locations used were in key and southern Italy, such as the parks of Valle del Treja (betwixt Rome and Viterbo), the area of Camposecco (next to Camerata Nuova, characterized by a karst topography), the hills around Castelluccio, the area around the Gran Sasso mountain, and the Tivoli's quarries and Sardinia. God's Gun was filmed in State of israel.^[13]

European Westerns before the Spaghetti Western [edit]

European Westerns are equally old as filmmaking itself. The Lumière brothers made their kickoff public screening of films in 1895 and already in 1896 Gabriel Veyre shot Repas d'Indien ("Indian Feast") for them. Joe Hamman starred as Arizona Pecker in films made in the French equus caballus country of Camargue 1911–12.^[14]

In Italy, the American West as a dramatic setting for glasses goes back at least as far equally Giacomo Puccini's 1910 opera La fanciulla del West ("The Girl of the West") it is sometimes considered to be the first Spaghetti Western.^{[15] [16]} The offset Western movie fabricated in Italy was La voce del sangue produced by Turin's film studio Itala Film (1910).^[17] In 1913 appeared La vampira Indiana—a combination of Western and vampire film. It was directed past Vincenzo Leone, begetter of Sergio Leone, and starred his female parent Bice Waleran in the title role every bit Indian princess Fatale.^[eighteen] The Italians as well made Wild Pecker Hickok films, while the Germans released back-woods Westerns featuring Bela Lugosi as Uncas.

Of the Western-related European films earlier 1964, the 1 alluring most attending is probably Luis Trenker'due south Der Kaiser von Kalifornien (1936), about John Sutter.^[19]

Another early on precursor of the genre had appeared in 1943 with the release of Giorgio Ferroni's Il fanciullo del West (The Boy in the W).^{[20] [21]}

Afterwards the Second World War, in that location were scattered European uses of Western settings, mostly for comedy or musical comedy. A cycle of Western comedies was initiated in 1959 with La sceriffa and Il terrore dell'Oklahoma, followed by other films starring comedy specialists like Walter Chiari, Ugo Tognazzi, Raimondo Vianello or Fernandel. An Italian critic has compared these comedies to American Bob Hope vehicles.^[22]

Origins [edit]

The offset American-British western filmed in Spain was The Sheriff of Fractured Jaw (1958), directed by Raoul Walsh. It was followed in 1961 past Savage Guns, a British-Spanish western, once again filmed in Spain. This marked the beginning of Kingdom of spain as a suitable motion picture shooting location for any kind of European western.

In 1961 an Italian company co-produced the French Taste of Violence, with a Mexican Revolution theme.

In 1963, three not-comedy Italo-Spanish westerns were produced: Gunfight at Red Sands, Implacable Iii and Gunfight at Loftier Noon.

In 1965, Bruno Bozzetto released his traditionally animated feature moving-picture show West and Soda, a Western parody with a marked Spaghetti Western-theme; despite having been released a twelvemonth after Sergio Leone'south seminal Spaghetti Western A Fistful of Dollars, development of West and Soda actually began a year before than Fistful's and lasted longer, mainly because of the use of more time-demanding blitheness over regular interim. For this reason, Bozzetto himself claims to take invented the Spaghetti Western genre.^[23]

Since there is no real consensus about where to draw the exact line between Spaghetti Westerns and other Eurowesterns (or other Westerns in general) one cannot say which one of the films mentioned then far was the kickoff Spaghetti Western. However, 1964 saw the breakthrough of this genre, with more than 20 productions or co-productions from Italian companies, and more than half a dozen Westerns past Spanish or Castilian/American companies. Furthermore, past far the most commercially successful of this lot was Sergio Leone's A Fistful of Dollars. It was the innovations in cinematic way, music, interim and story of Leone'southward first Western that decided that Spaghetti Westerns became a distinct subgenre and not just a number of films looking like American Westerns.^[24]

A Fistful of Dollars and its impact on the Spaghetti Western genre [edit]

In this seminal film, Leone used a distinct visual manner with big face shut ups to tell the story of a hero inbound a boondocks that is ruled by 2 outlaw gangs, and ordinary social relations are non-existent. The hero betrays and plays the gangs against ane another in order to brand money. He then uses his cunning and exceptional weapons skill to aid a family threatened by both gangs. His treachery is exposed and he is severely beaten, but in the cease, he defeats the remaining gang. The interactions in this story range betwixt cunning and irony (the tricks, deceits, unexpected deportment and sarcasm of the hero) on the one mitt, and pathos (terror and brutality confronting defenseless people and against the hero subsequently his double-cross has been revealed) on the other. Ennio Morricone'due south innovative score expresses a similar duality between quirky and unusual sounds and instruments on the 1 hand and sacral dramatizing for the big confrontation scenes on the other. Another of import novelty was Clint Eastwood'southward operation as the Man with no proper noun—an unshaven, sarcastic, insolent Western antihero set on his own gain, with distinct visuals to kick—the squint, the cigarillo, the poncho.

The Spaghetti Western was born, flourished and faded in a highly commercial production environment. The Italian "low" pop picture production was usually depression-upkeep and low-turn a profit, and the easiest way to success was imitating a proven success.^[25] When the typically low-budget product A Fistful of Dollars turned into a remarkable box role success, the industry eagerly lapped up its innovations. About succeeding Spaghetti Westerns tried to go a ragged, laconic hero with superhuman weapon skill, preferably one who looked similar Clint Eastwood: Franco Nero, John Garko and Terence Hill started out that style; Anthony Steffen and others stayed that way all their Spaghetti Western careers.

Whoever the hero was, he would join an outlaw gang to further his own undercover agenda, every bit in A Pistol for Ringo, Blood for a Argent Dollar, Vengeance Is a Dish Served Cold, Renegade Riders and others, while Across the Police instead has a brigand infiltrate society and become a sheriff. At that place would be a flamboyant Mexican bandit (Gian Maria Volonté from A Fistful of Dollars, otherwise Tomas Milian or about frequently Fernando Sancho) and a grumpy old man—more often than not an undertaker, to serve as sidekick for the hero. For dearest interest, rancher'south daughters, schoolmarms and barroom maidens were overshadowed by young Latin women desired by dangerous men, where actresses like Nicoletta Machiavelli or Rosalba Neri carried on Marianne Koch'due south role of Marisol in the Leone pic. The terror of the villains against their defenseless victims became just as ruthless as in A Fistful of Dollars, or more, and their brutalization of the hero when his treachery is disclosed became just as merciless, or more than—just similar the cunning used to secure the latter's retribution.

In the beginning some films mixed some of these new devices with the borrowed The states Western devices typical for virtually of the 1963–64 Spaghetti Westerns. For example, in Sergio Corbucci's Minnesota Dirt (1964) that appeared two months after A Fistful of Dollars, an American fashion "tragic gunfighter" hero confronts two evil gangs, one Mexican and one Anglo, and (merely equally in A Fistful of Dollars) the leader of the latter is the town sheriff.

Sergio Leone, 1 of the near representative directors of the genre

In the same managing director's Johnny Oro (1966) a traditional Western sheriff and a mixed-race bounty killer are forced into an uneasy alliance when Mexican bandits and Native Americans together assault the town. In A Pistol for Ringo a traditional sheriff commissions a money-oriented hero played past Giuliano Gemma (as deadly but with more than pleasing manners than Eastwood's character) to infiltrate a gang of Mexican bandits whose leader is played typically by Fernando Sancho.

Further developments of the genre [edit]

Just similar Leone's get-go Western, the following works in his Dollars Trilogy — For a Few Dollars More (1965) and The Good, the Bad and the Ugly (1966) — strongly influenced the further developments of the genre, as did Sergio Corbucci's Django and Enzo Barboni's 2 Trinity films, every bit well as another successful Spaghetti Westerns.

For a Few Dollars More and unstable partnerships [edit]

After 1965 when Leone's 2d Western For a Few Dollars More brought a larger box office success, the profession of bounty hunter became the pick of occupation of Spaghetti Western heroes in films similar Arizona Colt, Vengeance Is Mine, Ten Chiliad Dollars for a Massacre, The Ugly Ones, Dead Men Don't Count and Whatever Gun Can Play. In The Keen Silence and A Minute to Pray, a Second to Die, the heroes instead fight bounty killers. During this era, many heroes and villains in Spaghetti Westerns began carrying a musical watch, afterward its ingenious employ in For a Few Dollars More.

Spaghetti Westerns likewise began featuring a pair of different heroes. In Leone'southward film Eastwood'southward grapheme is an unshaven bounty hunter, dressed similarly to his character in A Fistful of Dollars, who enters an unstable partnership with Colonel Mortimer (Lee Van Cleef), an older bounty killer who uses more than sophisticated weaponry and wears a conform, and in the stop turns out to also be an avenger. In the following years at that place was a deluge of Spaghetti Westerns with a pair of heroes with (most often) conflicting motives. Examples include: a constable and an outlaw (And the Crows Volition Dig Your Grave), an army officer and an outlaw (Bury Them Deep), an avenger and a (covert) army officer (The Hills Run Ruddy), an avenger and a (covert) guilty party (Viva! Django aka W Django!), an avenger and a con-man (The Dirty Outlaws), an outlaw posing as a sheriff and a bounty hunter (Man With the Aureate Pistol aka Md, Hands of Steel) and an outlaw posing equally his twin and a bounty hunter posing every bit a sheriff (A Few Dollars for Django).

The theme of historic period in For a Few Dollars More than, where the younger bounty killer learns valuable lessons from his more experienced colleague and eventually becomes his equal, is taken upward in Day of Anger and Death Rides a Equus caballus. In both cases Lee Van Cleef carries on as the older hero versus Giuliano Gemma and John Phillip Police force, respectively.

Zapata Westerns [edit]

One variant of the hero pair was a revolutionary Mexican bandit and a by and large coin-oriented American from the U.s. frontier. These films are sometimes called Zapata Westerns.^[26] The offset was Damiano Damiani's A Bullet for the Full general and then followed Sergio Sollima's trilogy: The Large Gundown, Face up to Face and Run, Man, Run.

Sergio Corbucci's The Mercenary and Compañeros besides belong here, every bit does Tepepa by Giulio Petroni—among others. Many of these films enjoyed both skilful takes at the box office and attending from critics. They are ofttimes interpreted equally a leftist critique of the typical Hollywood handling of the Mexican Revolution, and of imperialism in general.^[27]

The Good, the Bad and the Ugly and universal betrayal [edit]

In Leone'south The Expert, the Bad and the Ugly there is still the scheme of a pair of heroes vs. a villain but information technology is somewhat relaxed, equally hither all three parties were driven by a coin motive. In subsequent films like Any Gun Can Play (which'south Italian title, "Vado... l'ammazzo e torno", is itself a quote from Leone's masterpiece), One Dollar As well Many and Impale Them All and Come Back Alone several main characters repeatedly form alliances and beguile each other for monetary gain.

Sabata and If You Encounter Sartana Pray for Your Death, directed by Gianfranco Parolini, introduce into like betrayal environments a kind of hero molded on the Mortimer character from For a Few Dollars More, just without any vengeance motive and with more than outrageous flim-flam weapons. Fittingly enough Sabata is portrayed past Lee Van Cleef himself, while John Garko plays the very similar Sartana protagonist. Parolini made some more Sabata movies while Giuliano Carnimeo fabricated a whole series of Sartana films with Garko.

Django and the tragic hero [edit]

Abreast the first iii Spaghetti Westerns by Leone, a most influential pic was Sergio Corbucci's Django starring Franco Nero. The titular graphic symbol is torn betwixt several motives—coin or revenge—and his choices bring misery to him and to a woman shut to him. Indicative of this moving-picture show's influence on the Spaghetti Western way, "Django" is the hero's name in a plenitude of subsequent westerns.^[28]

Fifty-fifty though his character is not named Django, Franco Nero brings a similar ambience to Texas, Adios and Massacre Fourth dimension where the hero must confront surprising and dangerous family unit relations. Similar "prodigal son"^[29] stories followed, including Chuck Moll, Keoma, The Render of Ringo, The Forgotten Pistolero, One One thousand Dollars on the Black, Johnny Hamlet and also Seven Dollars on the Crimson.

Some other type of wronged hero is set up and must clear himself from accusations. Giuliano Gemma starred in a series of successful films carrying this theme—Adiós gringo, For a Few Extra Dollars, Long Days of Vengeance, Wanted, and to some extent Claret for a Silverish Dollar—where most often his grapheme is called "Gary".

The wronged hero who becomes an avenger appears in many Spaghetti Westerns. Among the more than commercially successful films with a hero dedicated to vengeance—For a Few Dollars More, Once Upon a Time in the West, Today We Kill... Tomorrow We Die!, A Reason to Live, a Reason to Dice, Expiry Rides a Horse, Django, Prepare a Coffin, The Deserter, Hate for Hate, Halleluja for Django—those with whom he cooperates typically have conflicting motivations.

The "Trinity" films and triumph of comedy [edit]

In 1968, the moving ridge of Spaghetti Westerns reached its crest, comprising i-third of the Italian film production, only to collapse to one-tenth in 1969. Withal, the considerable box office success of Enzo Barboni'southward They Telephone call Me Trinity and the pyramidal one of its follow-up Trinity Is Yet My Proper noun gave Italian filmmakers a new model to emulate. The main characters were played by Terence Hill and Bud Spencer, who had already cooperated as hero pair in earlier Spaghetti Westerns God Forgives... I Don't!, Boot Hill and Ace Loftier directed by Giuseppe Colizzi. The humor started in those movies already, with scenes with comedy fighting, only the Barboni films became burlesque comedies. They feature the quick but lazy Trinity (Colina) and his big, strong and irritable brother Bambino (Spencer).

The stories lampoon stereotypical Western characters such as diligent farmers, lawmen and bounty hunters. There was a wave of Trinity-inspired films with quick and strong heroes, the former kind often called Trinity or mayhap coming from "a place called Trinity", and with no or few killings. Because the two model stories contained religious pacifists to account for the absence of gunplay, all the successors contained religious groups or at least priests, sometimes as one of the heroes.^[thirty]

The music for the two Trinity westerns (composed by Franco Micalizzi and Guido & Maurizio De Angelis, respectively) likewise reflected the change into a lighter and more sentimental mood. The Trinity-inspired films also adopted this less serious and oft maligned way.^[31]

Some critics deplore these mail-Trinity films and their soundtracks as a degeneration of the "existent" Spaghetti Westerns. Indeed, Hill's and Spencer's expert utilize of trunk language was a hard act to follow and it is significant that the almost successful of the mail service-Trinity films featured Colina (Man of the East, A Genius, Two Partners and a Dupe), Spencer (It Can Be Done Amigo) and a pair of Hill/Spencer look-alikes in Carambola. Spaghetti Western former hand Franco Nero too worked in this subgenre with Cipolla Colt and Tomas Milian plays an outrageous "quick" compensation hunter modeled on Charlie Chaplin's Piddling Tramp in Sometimes Life Is Hard, Eh Providence? and Here We Go Again, Eh, Providence? ^[32]

Twilight of the genre [edit]

In 1975, Terence Colina still could draw big audiences in the postal service-Trinity caper story Western A Genius, Two Partners and a Dupe, and the following yr Franco Nero achieved also equally a Django-style hero in Keoma. However, by the end of the 1970s, the different types of Spaghetti Westerns had lost their following amidst mainstream cinema audiences and the production had ground to a virtual halt. Belated attempts to revive the genre included the comedy film Buddy Goes West (1981), the Castilian-American coproduction Comin' at Ya! (also 1981) shot in 3D, and Django Strikes Once again (1987).

Other notable themes in Spaghetti Westerns [edit]

"Cult" Spaghetti Westerns [edit]

Some movies that were not very successful at the box role^[33] withal earn a "cult" status in some segment of the audition because of sure exceptional features in story and/or presentation. Ane "cult" Spaghetti Western that too has drawn attention from critics is Giulio Questi'south Django Kill. Other "cult" items are Cesare Canevari's Matalo!, Tony Anthony'southward Blindman and Joaquín Luis Romero Marchent'due south Cutting-Throats Nine (the latter amongst gore film audiences).

Historical backgrounds [edit]

The few Spaghetti Westerns containing historical characters like Buffalo Beak, Wyatt Earp, Billy the Child etc. mainly appear before A Fistful of Dollars had put its marking on the genre. Likewise, and in contrast to the gimmicky German Westerns, few films feature Native Americans. When they appear they are more frequently portrayed equally victims of discrimination than as dangerous foes. The only fairly successful Spaghetti Western with an Indian main character (played by Burt Reynolds in his only European Western outing) is Sergio Corbucci'south Navajo Joe, where the Indian village is wiped out past bandits during the first minutes, and the avenger hero spends the remainder of the moving-picture show dealing generally with Anglos and Mexicans until the final showdown at an Indian burying basis.

Ancient myths [edit]

Several Spaghetti Westerns are inspired by classical myths and dramas. Titles like Fedra W (as well called Carol of a Compensation Hunter) and Johnny Hamlet signify the connection to the Greek myth and possibly the plays by Euripides and Racine and the play by William Shakespeare, respectively. The latter also inspired Grit in the Sun (1972), which follows its original more than closely than Johnny Hamlet, where the hero survives. The Forgotten Pistolero is based on the vengeance of Orestes. There are similarities between the story of The Return of Ringo and the last canto of Homer's Odyssey. Fury of Johnny Child follows Shakespeare's Romeo and Juliet, but (once more) with a different ending—the loving couple leave together while their families annihilate each other.

Spaghetti Western musicals [edit]

Some Italian Western films were made as vehicles for musical stars, like Ferdinando Baldi's Rita of the West featuring Rita Pavone and Terence Loma. In non-singing roles were Ringo Starr every bit a villain in Blindman and French stone 'due north' roll veteran Johnny Hallyday as the gunfighter/avenger hero in Sergio Corbucci'south The Specialists.

East Asian connections [edit]

The story of A Fistful of Dollars was closely based on Akira Kurosawa'south Yojimbo. Kurosawa sued Sergio Leone for plagiarism, and was compensated with the exclusive distribution rights to the flick in Japan, where its hero, Clint Eastwood, was already a huge star due to the popularity of the Telly series Rawhide: Leone would take done far better financially by obtaining Kurosawa's advance permission to utilise Yojimbo'due south script.^{[34] [35]} Requiem for a Gringo shows many traces from another well-known Japanese film, Masaki Kobayashi'southward Harakiri.

When Asian martial arts films started to draw crowds in European movie house houses, the producers of Spaghetti Westerns tried to hang on, this fourth dimension not by adapting story-lines but rather by direct including martial arts in the films, performed by Eastern actors—for example Chen Lee in My Proper noun Is Shanghai Joe or Lo Lieh teaming up with Lee Van Cleef in The Stranger and the Gunfighter.

Political allegories [edit]

Some Spaghetti Westerns incorporated political overtones, particularly from the political left. An instance of such a flick is the Requiescant featuring Italian author/movie director Pier Paolo Pasolini as a major supporting character. Pasolini'south grapheme is a priest who espouses Liberation theology. The film concerns oppression of poor Mexicans by rich Anglos and ends on a call for arms but information technology does not fit easily as a Zapata Western, as it lacks the typical hero pair of a flamboyant Latin revolutionary and an Anglo specialist. The Price of Power serves a political allegory about the Assassination of John F. Kennedy, and racism. The movie concerns the assassination of an American president in Dallas, Texas by a grouping of Southern white supremacists who frame an innocent African-American. They are opposed by an unstable partnership between a whistle-blower (Giuliano Gemma) and a political adjutant.

Sexuality in the Spaghetti Western [edit]

Though the Spaghetti Westerns from A Fistful of Dollars and on featured more than violence and killings than earlier American Western films, they generally shared the parental genre'due south restrictive attitude toward explicit sexuality. However, in response to the growing commercial success of diverse shades of sex activity films, there was a greater exposure of naked skin in some Spaghetti Westerns, among others Dead Men Ride (1971) and Heads or Tails (1969). In the former and partly the latter, the sex scenes feature compulsion and violence against women.

Even though information technology is hinted at in some films, like Django Impale and Requiescant, open up homosexuality plays a marginal part in Spaghetti Westerns. The exception is Giorgio Capitani'south The Ruthless Four—in upshot a gay version of John Huston's The Treasure of the Sierra Madre—where the explicit homosexual relation between ii of its male person main characters and some gay cueing scenes are embedded with other forms of man-to-man relations through the story.^[36]

Reception [edit]

In the 1960s, critics recognized that the American genres were rapidly changing. The genre most identifiably American, the Western, seemed to be evolving into a new, rougher class. For many critics, Sergio Leone'south films were function of the problem. Leone'south Dollars Trilogy (1964–1966) was not the kickoff of the "Spaghetti Western" wheel in Italy, simply for some Americans Leone'due south films represented the true starting time of the Italian invasion of an American genre.

Christopher Frayling, in his noted book on the Italian Western, describes American critical reception of the Spaghetti Western cycle equally, to "a large extent, confined to a sterile debate about the 'cultural roots' of the American/Hollywood Western."^[37] He remarks that few critics dared admit that they were, in fact, "bored with an exhausted Hollywood genre."

Pauline Kael, Frayling notes, was willing to acknowledge this critical ennui and thus appreciate how a moving-picture show such equally Akira Kurosawa's Yojimbo (1961) "could exploit the conventions of the Western genre, while debunking its morality." Frayling and other film scholars such as Bondanella argue that this revisionism was the key to Leone'due south success and, to some degree, to that of the Spaghetti Western genre as a whole.^[38]

Legacy [edit]

Spaghetti Westerns accept left their mark on popular culture, strongly influencing numerous works produced in and outside of Italy.

The Video Game company Rockstar Games utilized aspects of the spaghetti western and paid homage to it in their series Red Dead Redemption along with its predecessor Red Dead Revolver^{[ citation needed ]}

In later years there were "render of stories" Django Strikes Again with Franco Nero and Troublemakers with Terence Hill and Bud Spencer.

Clint Eastwood'south first American Western film, Hang 'Em High (1968), incorporates elements of Spaghetti Westerns.

The Bollywood film Sholay (1975) was often referred to equally a "Curry Western".^[39] A more authentic genre label for the flick is the "Dacoit Western", as it combined the conventions of Indian dacoit films such as Mother India (1957) and Gunga Jumna (1961) with that of Spaghetti Westerns. Sholay spawned its own genre of "Dacoit Western" films in Bollywood during the 1970s.^[40]

In the Soviet Wedlock, the Spaghetti Western was adapted into the Ostern ("Eastern") genre of Soviet films. The Wild West setting was replaced by an Eastern setting in the steppes of the Caucasus, while Western stock characters such as "cowboys and Indians" were replaced by Caucasian stock characters such equally bandits and harems. A famous example of the genre was White Dominicus of the Desert (1970), which was popular in the Soviet Union.^[41]

The 1985 Japanese film Tampopo was promoted as a "ramen Western".

The Back to the Future trilogy pays homage to Spaghetti Westerns (especially Sergio Leone's Dollars Trilogy) on a multifariousness of occasions, near notably in the third film.

Japanese director Takashi Miike paid tribute to the genre with Sukiyaki Western Django, a Western set in Japan which derives influence from both Django and the Dollars Trilogy.^[42]

American manager Quentin Tarantino has utilized elements of Spaghetti Westerns in his films Kill Bill (combined with kung fu movies),^[43] Inglourious Basterds (set in Nazi-occupied France),^[44] Django Unchained (ready in the American South during the fourth dimension of slavery).,^[45] The Mean Viii (set in Wyoming post-U.s.a. Civil War), and In one case Upon a Time in Hollywood (about fictional American actor Rick Dalton sometimes working in Spaghetti Westerns).

The American animated film Rango incorporates elements of Spaghetti Westerns, including a character (the mystical "Spirit of the Westward", regarded as a sort of deity among the characters) actualization to the protagonist every bit an elderly Man with No Name.

American heavy metal band Metallica has used Ennio Morricone'due south composition "The Ecstasy of Golden" from The Good, the Bad and the Ugly to open several of their concerts. The Australian band The Tango Saloon combines elements of Tango music with influences from Spaghetti Western scores. The band Ghoultown also derives influence from Spaghetti Westerns.^{[ citation needed ]} The music video for the song "Knights of Cydonia" past the English stone ring Muse was influenced past Spaghetti Westerns. The band Big Audio Dynamite used music samples from Spaghetti Westerns when mixing their song "Medicine Show". Within the song ane can hear samples from Spaghetti Western movies such equally A Fistful of Dollars, The Practiced, the Bad and the Ugly, and Duck, Y'all Sucker!.^[46]

Notable personalities [edit]

See likewise [edit]

• List of Spaghetti Western films
• Co-productions in Spanish cinema
• Ostern
• Revisionist Western
• ZWAM, a youth movement in Madagascar inspired by Spaghetti Westerns
• Bang! (card game), inspired past the genre

Notes [edit]

1. ^ Nelson, Peter (Jan 9, 2011). "The Spaghetti Westerns of Sergio Leone". Spaghetti Western Database. Archived from the original on Oct 21, 2016. Retrieved May 2, 2021.
2. ^ Gelten, Simon; Lindberg (November ten, 2015). "Introduction". Spaghetti Western Database. Archived from the original on June 30, 2017. Retrieved May ii, 2021.
3. ^ Dirks, Tim. "Westerns Films (part 5)". Filmsite. American Movie Classics Company LLC. Archived from the original on February sixteen, 2009. Retrieved May 2, 2021.
4. ^ Frayling (2006) pp. 39–67
5. ^ Joyner, C. Courtney Aldo Sambrell Interview The Westerners: Interviews with Actors, Directors, Writers and Producers Archived 2017-08-18 at the Wayback Motorcar McFarland, 14 Oct 2009, p. 180
6. ^ A Fistful of Dollars (The Christopher Frayling Archives: A Fistful of Dollars) (Blu-ray disc). Los Angeles, California: Metro-Goldwyn-Mayer. 1967.
7. ^ p. xxi Frayling, Christopher Spaghetti Westerns: Cowboys and Europeans from Karl May to Sergio Leone I.B.Tauris, 27 January 2006
8. ^ Riling (2011) p. 334.
9. ^ Frayling (2006) pp. 68-seventy
10. ^ Fridlund (2006) p.five
11. ^ Moliterno, Gino (2008). "Western All'Italiana". Historical Dictionaries of Literature and the Arts 28. Scarecrow Press. pp. 338–339.
12. ^ Curtis, Ken. "Mini Hollywood Almeria, Wild West attraction in Spain". world wide web.click2mojacar.co.great britain. Archived from the original on two December 2016. Retrieved 8 May 2018.
13. ^ "Diamante Lobo - The Spaghetti Western Database". world wide web.spaghetti-western.net. Archived from the original on 10 October 2016. Retrieved 8 May 2018.
14. ^ Charles Ford: Histoire du Western (Paris: Ed. Albin Michel, 1976) p. 263ff; George N. Fenin and William K. Everson (New York : Orion Press, 1962) p. 322ff
15. ^ Huizenga, Tom. "Happy Birthday 'Fanciulla' — Puccini's Spaghetti Western Turns 100". National Public Radio. Archived from the original on 19 May 2011. Retrieved 14 July 2011.
16. ^ Tommasini, Anthony (27 June 2004). "MUSIC; The First Spaghetti Western". The New York Times. Archived from the original on 25 May 2013. Retrieved fourteen July 2011.
17. ^ Magrin Haas (2022) p. 167ff
18. ^ Frayling (2000) p. 29ff
19. ^ Frayling (2006) p. 1ff
20. ^ Mary Ellen Higgins; Rita Keresztesi; Dayna Oscherwitz (24 April 2015). The Western in the Global South. Routledge, 2015. ISBN9781317551065.
21. ^ Gino Moliterno (29 September 2008). Historical Lexicon of Italian Movie theater. Scarecrow Printing, 2008, p. 339. ISBN9780810862548.
22. ^ Mario Molinari, Prima che arrivassero gli 'spaghetti' Segnocinema 22 (March 1986), Vicenza
23. ^ Iondini, Massimo (3 October 2015). "Bozzetto: "Così ho inventato lo spaghetti western"" [Bozzetto: «So I invented spaghetti western»]. Avvenire (in Italian). Milan. Archived from the original on 30 September 2019. Retrieved ane October 2019.
24. ^ Fridlund pp. 80-81
25. ^ Frayling (2006) pp. 68–102
26. ^ Gaberscek, Carlo (2008). "Zapata Westerns: The Short Life of a Subgerne (1966–1972)". Bilingual Review. 29 (2/3): 45–58. Academic Search Premier. EBSCO. Web. 25 April 2011.
27. ^ Frayling (2006) pp. 217–44,
28. ^ Frayling (2006) pp.82 finds over thirty Django films, with renaming in French versions included. Fridlund (2006) pp. 98–100 finds just 47 German titles containing the discussion "Django".
29. ^ The term is used past Fridlund (2006) pp. 101–09
30. ^ Fridlund (2006) p.238-40
31. ^ Fridlund (2006) p.237,245
32. ^ Fridlund (2006) p.237,248-51
33. ^ Catalogo Bolaffi del movie theatre italiano, (Turin: Giulio Bolaffi Editore, 1967); Poppi, Roberto/Pecorari, Mario, Dizonario del Cinema Italiano, I Film del 1960 al 1969, . I Film del 1970 al 1979, (Gremese Editore 1992 and 1996 respectively); Associazione Generalo Italiana Dello Spettacolo (A.Yard.I.S.), Catalogo generale dei film italiani dal 1965 al 1978, (Rome V edizione 1978).
34. ^ Clint: The Life and Legend. Patrick McGilligan. OR Books (2015). ISBN 978-1939293961.
35. ^ An agreement was signed to compensate the authors of Yojimbo for the resemblance. Meet Frayling (2000) pp. 148–49.
36. ^ Fridlund (2006) pp. 216-17
37. ^ Frayling (2006) pp. 121–137
38. ^ Frayling (2006) pp. 39–40
39. ^ "Weekly Classics: Bollywood'southward Back-scratch Western". dawn.com. Archived from the original on 2014-06-05.
40. ^ Teo, Stephen (2017). Eastern Westerns: Moving-picture show and Genre Outside and Inside Hollywood. Taylor & Francis. p. 122. ISBN9781317592266. Archived from the original on 2017-11-30. Retrieved 2017-eleven-27 .
41. ^ Wright, Esmee (June 19, 2019). "Untold Stories: Bollywood and the Soviet Matrimony". Varsity. Archived from the original on 3 July 2020. Retrieved 31 May 2020.
42. ^ "Spaghetti Western served up in Nippon". japantimes.co.jp. Archived from the original on 2014-06-05.
43. ^ "Impale Nib Vol. 2". Exclaim!.
44. ^ "DEBATING INGLOURIOUS BASTERDS". filmquarterly.org. Archived from the original on 2014-06-05.
45. ^ "Why Django Unchained's Slavery Tale Had to Be a Spaghetti Western". vulture.com. Archived from the original on 2014-06-05.
46. ^ "This is Large Audio Dynamite". www.esmark.net. Archived from the original on 9 November 2016. Retrieved 8 May 2018.

References [edit]

• Fisher, Austin (2011). Radical Frontiers in the Spaghetti Western: Politics, Violence and Popular Italian Cinema. 175 5th Avenue New York NY: I.B. Tauris & Co Ltd. ISBN978-ane-84885-578-6. {{cite volume}}: CS1 maint: location (link)
• Frayling, Christopher (2006). Spaghetti westerns: cowboys and Europeans from Karl May to Sergio Leone (Revised paperback ed.). London, New York:I.B. Tauris & Co Ltd. ISBN978-1-84511-207-3 . Retrieved 27 April 2011.
• Frayling, Christopher: Sergio Leone: Something to Practice with Expiry (London: Faber, 2000)
• Fridlund, Bert: The Spaghetti Western. A Thematic Analysis. Jefferson, NC and London: McFarland & Visitor Inc., 2006. Print.
• Gale, Richard (Wintertime 2003). "SPAGHETTI WESTERNS". Periodical of Popular Film & Television. xxx (4): 231.
• Liehm, Mira. Passion and Defiance: Moving picture in Italy from 1942 to the Nowadays. Berkeley: U of California P, 1984. Impress.
• McClain, William (2010). "Western, Go Dwelling! Sergio Leone and the 'Death of the Western' in American Film Criticism". Journal of Film & Video. 6 (i/2): 52–66. doi:ten.5406/jfilmvideo.62.1-2.0052.
• Riling, Yngve P, The Spaghetti Western Bible. Express Edition, (Riling, 2011). Print
• Weisser, Thomas, Spaghetti Westerns: the Good, the Bad and the Tearing — 558 Eurowesterns and Their Personnel, 1961–1977. (Jefferson, N.C.: McFarland, 1992)
• Magrin Haas, Alessandra (2022). "Silent Westerns Made in Italy:The Dawn of a Transnational Genre betwixt US Purple Narratives and Nationalistic Appropriations" in Transnationalism and Imperialism. 1320 East 10th Bloomington IN: University of Indiana Printing. ISBN978-0-253-06075-4. {{cite book}}: CS1 maint: location (link)

External links [edit]

The dictionary definition of Spaghetti Western at Wiktionary

• The Spaghetti Western Database
• 10,000 Ways to Die, a volume about Spaghetti Westerns made between 1963 and 1973, released under a Creative Commons license by its author Alex Cox

wilsonkinesen.blogspot.com

Source: https://en.wikipedia.org/wiki/Spaghetti_Western

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