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 saying, became a modification of the conventions of the traditional genre. In the learn For A Few Dollars More (Per qualque dollaro in pi, 1965), Leones formula is developed through a reformed narrative structure, slight changes in the traditional char moulders, 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 alimentary paste Sergio Leone and the Spaghetti Western, employed a combination of narrative possibilities generated by three profound roles the townspeople (agents of refinement) savages or outlaws, who threaten the outgrowth group and heroes, men who get by certain characteristics of the second group, that who act ultimately on behalf of the representatives of civilization (Bondanella, 255). Leones modification of th e traditional narrative structure removed the townspeople, and in doing so eliminated civilization. He kept the outlaws, headed by an evil man with near sort of psychological scarring. Instead of one hero, there are two, who act not on behalf of society and order but their own individualized 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 Van Cleef), a retired soldier and unselfishness 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 black preacher mans costume and is a habitual reader of the Bible. He represents the older, wiser generation, which is articled to be extinct. Next, Leone introduces Mortimers contender and opposite, Manco (Clint Eastwood), 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, years 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, join forces against Indio and his gang of criminals in order for each to strike their goal through a partnership.