"The real film does not resemble the memory it left behind. There aren't three but four characters, and where it takes forty minutes to introduce the first three, it takes even longer to allow the fourth - the war - to creep into the picture and carry more and more weight. So much so that between the moment when we learn that the booty is buried in Sad Hill cemetary and the moment when we finally reach it, the word cemetary (and its image) has changed meaning. The film's undertaking is to remind us that in a cemetary there are more corpses of dead soldiers than buried treasure. How subtle is Leone's didactisism; there's no mention of a war, it's encountered in the course of the film and suddenly you realise it's been there for a long time and is horrifying." (Serge Daney sobre The Good, the Bad and the Ugly)
quarta-feira, 24 de abril de 2013
Leone e a guerra
"The real film does not resemble the memory it left behind. There aren't three but four characters, and where it takes forty minutes to introduce the first three, it takes even longer to allow the fourth - the war - to creep into the picture and carry more and more weight. So much so that between the moment when we learn that the booty is buried in Sad Hill cemetary and the moment when we finally reach it, the word cemetary (and its image) has changed meaning. The film's undertaking is to remind us that in a cemetary there are more corpses of dead soldiers than buried treasure. How subtle is Leone's didactisism; there's no mention of a war, it's encountered in the course of the film and suddenly you realise it's been there for a long time and is horrifying." (Serge Daney sobre The Good, the Bad and the Ugly)
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