Still one of my favorites. Her conception of the image is so in tune with mine, a hard things to explain. And that it’s used for an extremely nuanced and personal film about moral/political concerns – it had been a while since I had seen it and it makes me wonder how much it pointed me in that direction.
I’m not sure if this holds up as well for me as some of his other films. When I first saw it, maybe 10 years ago, I was in love with it. But now it feels too simple in a way. Still good, but not as much as Roman would go on to achieve with something like The Tenant.
It has its moments, but can’t compare to Leone’s next two films. The Bravado is still a bit rough and the line between operatic tension building and boring indulgence is thin and falls on the wrong side too often. Maybe if he hadn’t gone on to such greatness this would seem better.
It was good, but I respected it more than I laughed.
It was moving though, the son becoming the father bit sounds trite on paper, but it was actually one of the most natural portrayals of this I have seen.
Not as earth shattering as Szindbad, but very good. It made me feel like a horse and I’ve never felt that before.