Sergio Leone and the Anti-hero Epic

Many directors manage to put out a brilliant film or two in their careers, but not many manage to raise the bar nearly every time out, even when faced with obstacles like minimal budgets and not speaking the same language as your actors. Sergio Leone was not your average director. He was fortunate enough to start his career, assisting on Vittoria DeSica's masterpiece "Bicycle Thieves" one of the most powerful films ever made. From there, he did a lot of writing and work around film sets, until he got the chance to direct his own films. He quickly ended up tackling a declining genre, the Western film, giving it a different spin than most were accustomed to seeing.

Many were tired of the preachy moralizing white hat and black hat messages that worked in simpler times. Leone's subversion struck a chord and before long many other low budget film makers saw the possibilities in his approach, spawning a large number of "Spaghetti Westerns" which showed a very different side of the old west and created a new and gritty mythology, populated by characters like "Django," "Trinity," and "Sartana." The public appetite for this new brand of anti hero seemed to mirror the popularity of gangster pictures years earlier, giving the public a character that seemed to fit the times by admitting that the illusion of the old morality in the Westerns didn't suit the growing cynicism they felt about the world. Leone's outlook was largely due to the fact that his outlook on the cowboys was that of an outsider, a European examining the American gunslinger. While a certain admiration comes through, so does a feeling of brutality, an astonishment at the level of violence, happening in a very recent (to Europeans) time.

Leone's "good guys" were not pure and virtuous. A quick look would not be enough to separate his"Man With No Name" from his adversaries. Leone's hero was a survivalist above all else, not working for truth, justice, or a greater cause, but his own independence, following a code which was only known to himself. While he typically ended up on the right side, that was only because the bad guys were disloyal, unnecessarily brutal and too greedy for their own good. Clint Eastwood was the perfect actor for these roles, his stoic squint, a promise that this cowboy wasn't from the John Wayne or Roy Rogers school of ethics. This character worked so well he was soon ingrained into public consciousness, becoming one of the most iconic film characters of all time.

Leone found himself a winning formula, inexpensive Spanish settings, Clint Eastwood, and the scores of Ennio Morricone. "A Fistful of Dollars" paved the way for "A Few Dollars More," and then "The Good, the Bad, and the Ugly" each doing better than the last. Each element was in it's place and they all worked beautifully together. Each film became a classic in it's own right and together they make up the best Western trilogy ever made and and a cornerstone in the evolution of the film anti hero. Eastwood himself hasn't shed that image yet, his later westerns, Dirty Harry, and even the Clint Eastwood of "Gran Torino" still recall the "Man With No Name."

While the Dollars trilogy would have been enough of a contribution to cinema for anyone's lifetime, Leone wasn't quite finished with the Western. Although he had his mind on making a different film (which would eventually be "Once Upon A Time in America") his success with the westerns made the studios eager to have him make another. Leone turned to Charles Bronson, one of the few actors who does stoic better than Eastwood, as his hero, and to Henry Fonda, playing shockingly against type, as his villain. Retaining Ennio Morricone, whose brilliant score helped keep the film in the same western universe, he made "Once Upon A Time In The West" a look at the conflict between progress and the old Western codes. Once Upon a Time In the West" became a kind of love letter to the Western genre, and referenced nearly every great American Western while telling it's own story. This was not just a movie, but an epic, impossibly large and full of breathtaking shots and scenes, including perhaps the best final showdown ever, consisting largely of Bronson and Fonda's staring at each other, making the final draw seem a relatively minor thing. It showed a side of the West that had been largely overlooked, except for the popular revisionist stories such as "The Alamo." "Harmonica" Bronson's character was a Mexican man in conflict with the all American Fonda, although their differences were entirely personal rather than cultural.

And again, if Leone had stopped there, his legacy would've been tough to match, but he still had years to go. Eventually he got to make the picture he'd been planning for years, even turning down a chance to direct "The Godfather" to do so. "Once Upon A Time in America" was a another epic, this time centered on the rise and fall of a group of Brooklyn gangsters. The story is told in three different time periods, the 20's, 30's and 60's and we see the times change in the life of "Noodles" Aaronson (Robert DeNiro) and his associates. While it's a very long film, it's also in a class of it's own, and as far as gangster films go, it doesn't get any better. Sadly, the epic was too much epic for the studios and they cut and shortened it until the story didn't resemble itself anymore. Luckily enough people noticed this, and the original has been available for some time now in all its intended glory. "Once Upon a Time In America" marks the change in American character since the old west, showing Leone's sentiment when he remarked, "In my childhood, America was like a religion. Then, real-life Americans abruptly entered my life, in jeeps, and upset all my dreams. I found them very energetic, but also very deceptive. They were no longer the Americans of the West. They were soldiers like any others; materialists, possessive, keen on pleasures and earthly goods." Noodles had little in common with Harmonica from Once Upon a Time In the West." or the Man With No Name, he was a ruined man, making a last effort to figure out why, and even that effort has to be viewed skeptically.

Leone wasn't done working of course, but he died in 1989 while planning another epic, this time a World War II epic about the siege of Leningrad. I think it's safe to say that cinema today would be a very different thing without Leone's contribution. He was quoted as saying “When I was young, I believed in three things: Marxism, the redemptive power of cinema, and dynamite. Now I just believe in dynamite.” a sentiment unsurprising from such a champion of the anti hero, although I'm sure that many film lovers would disagree with it, particularly when it comes to the impact of Leone's work. Judging by the abundance of anti heroes in our modern movies and top tier television, Leone's "Man With No Name"  is still needed. Happy Birthday Sergio. I'm glad you were here.

Top Ten Clint Eastwood Anti-heroes

Clint Eastwood's birthday was yesterday, and it prompted me to take a look at his contribution to the antihero in film. I've been meaning to do an Eastwood list for ages, but it's easy to take him for granted. As far as anti-heroes go, Eastwood is practically the role model. He is one of the most distinctive actors in American film and is as talented a director, although I'm only looking at his roles here. His craggy features, menacing squint and gravelly voice have always ensured he won't be playing any pretty boy parts. He can produce more fear with his glare than most tough guy actors can with days of prep time. Ever since Leone's Dollars trilogy, it would be tough to figure out what the difference is between the Man with no Name and Eastwood himself, as most of his parts make full use of those elements he's known for.

Where John Wayne is the wholesome Western hero, Eastwood is the meaner more contemporary version, free of the old idealism of the white hat. The Eastwood anti-heroes just do what they have to do, which can often be unsettling to the squeamish. I have no trouble believing that his character in "High Plains Drifter" for example could set out to humiliate and destroy a whole town without changing his expression once. However, as tough, mean, and unyielding as he is, he typically ends up on the side of the angels, lucky for us all. We admire him because beneath it all is a fierce and unyielding integrity. Unlike Wayne's larger than life heroes, Eastwood's characters really hurt and really hurt back. He's used to high stakes but you won't see him give up. Picking a definitive top ten would be impossible, but here's a stab at it. Let me know if there's one I missed that you would have included. I'd love to hear your thoughts. Happy Birthday Clint, and thanks for so many years of amazement!

10) Frank Horrigan, In the Line of Fire

Frank is an aged Secret Service agent, skilled but haunted by the fact that John F. Kennedy died under his protection. When the current president becomes the target of an ex CIA psychopath (John Malkovitch)  he has a chance to get it right this time, although with many disadvantages, like his age and the fact that the would be killer has studied every aspect of his life. Frank is a character whose failure haunts his entire life, although this doesn't make him less skilled or dedicated. This is a character firmly in Eastwood's lonely and haunted tradition, but in this case he's a little more by the book.







9) Dave, Play Misty for Me

Dave is a long way away from the characters Clint usually plays, not at all concerned with being a tough guy, as his main interest is what woman to get into bed with that night. He isn't particularly concerned with consequences or the feelings of the women involved. At least he isn't until a one night stand isn't willing to let it go at that and begins stalking him. She goes to great lengths to stay in Dave's life willing to commit violence and even murder to have what she wants. Dave himself is forced to great extremes to get free of her. This is a great portrait of a fairly normal if egocentric and selfish guy who has to pay for his carelessness more than most.





8)Frankie Dunn, Million Dollar Baby

Frank is a top notch boxing trainer who is basically done with the fight game, and with human relationships in general, except for his friendship with Scrap (Morgan Freeman) an ex fighter he had trained who now manages Frankie's gym. Frankie is haunted by deep guilt towards his estranged family. When a woman boxer Maggie (Hillary Swank) persists in demanding he train her, they find themselves forming the deepest of relationships. Frank and Maggie both see a chance for something good, but when life doesn't cooperate, his devotion is sadly tested. Riveting and deep performance.






7)Walt Kowalski, Gran Torino

Walt is a bitter and unrepentantly harsh Korean war veteran, who has just lost this wife. He is also a proud racist, whose neighbors happen to be Hmong. Walt makes no effort to tolerate the local priest or even his own family. Thao, (Bee Vang) the teenage Hmong boy is pressured by a gang to help steal Walt's prized 1972 Gran Torino, an attempt Walt easily repels them pointing a gun at Thao's face. Thao attempts to resist the gang when they get forceful, compelling Walt to step in, saving Thao a beating. Embraced by his Hmong neighbors, who he still refers to as "Gooks" he is forced to accept their gratitude and Thao starts doing chores to make amends for his transgression. Walt begins taking an interest in the boy, getting him a job and trying to keep him out of trouble, while providing some sort of father figure as well. The gang however, isn't happy with this and soon drastic measures are required, which Walt handles quite cleverly, if a bit sadly.





6)The Stranger, High Plains Drifter

The Stranger arrives, sneering, in the town of Lago and finds he is very unwelcome. It soon becomes clear that he has little regard for them either, killing them at every provocation, and raping a woman who insults his manners. The Stranger recalls another man who once called to all the townsfolk for help, in vain, while being beaten to death. When the town faces another threat, they turn to the Strange for help, when he's reluctant they offer him "anything he wants" in the town, which he takes full advantage of. His plan to save them however includes painting the whole town red and painting "Hell" over the Lago sign. It becomes clear that the brutal stranger has a special grudge, with many debts he plans to collect, and may be much more than he appears to be.




5) Frank Morris, Escape from Alcatraz,

Frank Morris is a bank robber and a genius sent to Alcatraz, where he's told that no one has ever escaped. He isn't content with this idea, and begins getting to know the prison and its inmates, while planning exactly how he'll be the first to escape.Frank figures out how to make allies and deal with enemies and prison guards all while putting the details of his escape into place for many months until he and his friends are ready to make their move. Based on actual events, we are left with some blanks to fill in, but we can't help but admire Frank's intelligence and unstoppable spirit, not content with "no one's ever done it" as an excuse, despite the fact that he was clearly not in Alcatraz by accident.






4)Josey Wales, The Outlaw Josey Wales

The end of the Civil War doesn't eliminate tension between the Union and Confederate soldiers. Confederate Josey Wales plans to go home, but finds his home destroyed and family murdered by Union soldiers. He joins a group of Confederate guerrillas, becoming an outlaw since the South's surrender has been accepted. Wales starts a life on the run, gathering an interesting group of travelling companions in the process who remind him he's still human. He is forced to figure out how to arrange a reckoning and also to get past that and live his life, such as it is. Fortunately there are some on both sides who see the sense in moving on, accepting that "we all died a little in that damn war."





3)Blondie, The Good, the Bad and the Ugly

Blondie (The Good) is a wandering gunman/bounty hunter in the Civil War West. Blondie has an arrangement with wanted outlaw, Tuco (Eli Wallach, "the Ugly") We see Blondie's unconventional style when he turns in Tuco only to break him out just before execution, so they can split the bounty.Tuco's bounty goes up and they try it again at the next town.  Blondie gets tired of Tuco, however, and leaves him in the desert keeping all their money for himself. Tuco resolves to kill Blondie and foils an attempt to use the same scheme with another outlaw.Tuco's revenge is interrupted by an encounter with a dying man, who knows the location of a treasure, which only Blondie hears which forces them into partnership again. Another man, the ruthless killer Angel Eyes (Lee Van Cleef, "the Bad") is looking for the now dead man and his treasure. Blondie changes partnerships, throwing in with Angel eyes, though Tuco follows behind leading to an original three way show down, ending with Blondie's observation that "there are two kinds of people, those with loaded guns, and those that dig." The last of the "Dollars trilogy" featuring "the Man with No Name" all featuring Eastwood's most well known antihero, the stoic rugged loner, who may be labelled "Good" but isn't that far away from "the Bad."




2)Dirty Harry, Harry Callahan
http://criminalmovies.blogspot.com/2010/07/dirty-harry.html

Perhaps Eastwood's most popular character, Dirty Harry Callahan is a cop who isn't interested except by using a bigger gun. Faced with a cartoonishly evil psycho killer, and bound by the bureaucracy behind due process, he chooses to do things his own way in order to avoid more murders. The film that coined the classic line "Do ya feel lucky punk, Well do ya?" He clearly struck the public's imagination and endured with several sequels. Harry has a similar mentality to Eastwood's western characters, although they come across very differently in a "civilized" and urban setting. He's as trigger happy as the Man with No Name, but also bound to uphold the law, which makes for an interesting dilemma more suitable for tough one liners delivered with his trademark squint. Less morally ambiguous than the Man With No Name, but far from clear cut. At least his excess is only aimed at the bad guys.




1)William Munny, The Unforgiven, 
http://criminalmovies.blogspot.com/2010/02/unforgiven.html

The Unforgiven seems to be Eastwood's statement on the Western anti-heroes he'd portrayed over the years, and in my opinion, it may well be the finest western ever made. William Munny is a retired assassin, who was according to many, including himself, more evil than he was morally challenged. We meet him after he's hung up his guns to get married, attempting to make a living from his ranch and raise his kids even after his wife dies. His infamy however, remains intact and he's soon sought out by The Schofield Kid a would be gunslinger who enlists Munny and his longtime friend and associate Ned (Morgan Freeman) to help him collect a bounty on some cowboys who "cut up a whore." in the town of Big Whiskey. The mission is complicated by the town's sheriff Little Bill (Gene Hackman) who deals brutally with all assassins coming to look for the bounty. Munny and little Bill head for a brutal face off, and we see that as far as violence goes, when deciding who lives and dies, "We all got it comin'" and "deserve's got nothing to do with it."

The Unforgiven

While I've enjoyed many Clint Eastwood films, the Unforgiven was the first one that made me think, "that's why Clint Eastwood got into the movies." While the Western has never completely gone away "The Unforgiven" reminded me why they don't. The old west provides a perfect backdrop for rough characters who get tough or die. That may sound like an odd thing to say in reference to this movie, but the Unforgiven is a thorough examination of these characters and this environment.

Technically, this film is unforgettable, showing the west as a wild and barren place not well suited for life, while interiors are as dark and brooding as any nightmare.
The acting is all astounding with nothing short of brilliant performances by any actor involved. Eastwood, Hackman, and Freeman are giving nothing but their best here.

Clint Eastwood directs and plays the lead role, an ex-killer named William Munny. Will has long since retired after finding a woman, who settled him down. She however, has passed on, leaving him to tend the ranch and take care of his two youg kids. It speaks volumes of his character that even after his wife died, he kept to the path he promised her. Munny is revealed to be such an ugly character that it's easy to forget this.

He also has a close bond with his ex-partner Ned Logan (Morgan Freeman) which has endured over many years. While Eastwood has played the anti-hero more than probably any actor out there, Will Munny is a step further than usual. This is not a man who killed out of revenge or self defense, but simply one who killed indiscriminately because he has drunk and angry or just for money. He wasn't an anti-hero but a pure villian in the past. It's no accident that the film starts with Munny settled down and out of the killing line of business. The problem is, he's much better at killing than he is at ranching. So, when "The Schofield Kid" (Jaimz Woolvett) a wet behind the ears kid, presenting himself as a cold blooded killer, shows up to recruit him for one last job, he can't really pass it up.  The Kid's heard stories, but looking at Munny, he's skeptical as to their truth. He imagines that a killer has some telltale signs that give away his nature and in Will he only sees a beaten old rancher. The scenario the Kid presents is perfect. Munny is able to justify it as it appears to be a good cause. Apparently some drunk cowboy "cut up a whore." and there's a bounty on that cowboys head. Will decides he needs Ned and so pays him a visit to justify it to him as well. Ned is also settled down now, but agrees to accompany them to the town of Big Whiskey, where the offense was committed.

Big Whiskey, Wyoming is run by Little Bill Daggett (Gene Hackman). While Little Bill is not a kind character by any means, he does respect and enforce the law as fairly as he can. In some cases he's too lenient, as when he proposes the penalty for the cowboy (he's to give the saloon owner some horses to compensate for loss of the whore's services) and in others too severe (dealing with the would be assassin's.) As a result of his leniency, the group of whores decide to pool their money to offer the bounty on the cowboy's head. When Little Bill hears about the bounty offerred, he anticipates the run of criminals coming in to claim the bounty, so he outlaws guns in Big Whiskey. Little Bill is the perfect foil for Bill Munny. He is clearly on the side of law and order, a man of principles and fairness (perhaps skewed fairness) His only objective is to keep the peace in Big Whiskey. His lack of urgency in punishment for the disfiguring of the whore is also in keeping with the times he lives in. Viewing them as property, offerring horses as retribution would not be unreasonable.  Little Bill despises assassins, but don't we all?

Richard Harris has a great role as English Bob, one of the first to show up to collect the bounty. As the name suggests Bob is loyal to the English crown, a fact which makes him unpopular, but given his reputation as a skilled killer, most let his lectures pass uninterrupted. He offers an interesting theory on the assasination attempt on President Garfield, claiming that you can't shoot royalty. Bob also travels with a biographer, Beauchamp (Saul Rubinek) who writes down Bob's every recollection as it it was gospel. English Bob's stay in Big Whiskey is a short one as Little Bill knows well who he is. He catches English Bob concealing a weapon and beats him severely as an example to every assassin who would ride in. He then jails Bob and Beauchamp, taking the time to shed new light on Bob's stories. He points out to Beauchamp that Bob is a coward more than a skilled gunman. Misreading the title of Beachamps book, he calls Bob the "Duck of Death" and when Beauchamp corrects him, he responds "Duck, I says. Beauchamp soon latches on to Little Bill for his seemingly more reliable information. It's an interesting examination on the nature of the myths around these men, Beauchamp only writing down what he's told by each source, each with their own bias, switching allegiance purely due to force of character.

Will, Ned and the Kid arrive in Big Whiskey, having passed through heavy rain leaving Will sick with fever. The prostitutes offer all three men "free ones" (sexual favors as an advance on payment) Ned and the Kid find this idea agreeable, but Will is both too sick and uninterested as he still thinks of himself as married, although his wife's been dead a long time. This turn of events leaves Will alone in the saloon when Little Bill shows up. Bill takes an instant dislike to Munny, and despite Will's fever, he beats him like Englis Bob and throws him out in the rain. This incident gives Ned and the Kid time to get away. They come back for Will and bring him to a location out of town where they and the prostitutes nurse him back to health. THis allows a significant moment between Will and Delilah (Anna Levine) the prostitute who was cut up. She offers Will a "free one." and when Will declines, she assumes that it's because of her face. Will corrects her saying that if he did want a free one it would be with her. This moment of tenderness reminds us how far away Will is from his past misdeeds, not to suggest that they won't reclaim him, but to show how much range one man can really have.

When Will has recovered, the killing is accomplished in short order. Rather than a glorious gunfight, we see the three assassins corner the man in a ravine. They're clearly out of practice and the first shot kills the man's horse pinning him down and breaking his leg. Although Ned is the best shot of them all, he loses his nerve after the horse, and we've learned that the Schofield Kid has a serious vision problem, so Will gets the gun. After several misses he finally hits him, but in the gut so dying will take a while. They have to listen to him moaning in pain and asking for water, to be sure he's dead. Will, still wrestling with his nature, tells the man's companions, who won't venture into the ravine for fear of being shot, to bring him the water he asks for.

Ned decides he's had enough at this point and heads towards home. They still have one man left to kill however, so Will and the Kid head for the cowboy's camp and wait in view of the outhouse for the second man to take his turn. The Kid is still out to prove his toughness, and he takes the opportunity to kill the man swinging open the door and shooting him right on the toilet. He's clearly shaken afterwards, and he admits to Will that he made up the five men he'd claimed to have killed all along, leading to this exchange:
 The Schofield Kid: That was the first one.
Will Munny: First one what?

The Schofield Kid: First one I ever killed.

Will Munny: Yeah?

The Schofield Kid: You know how I said I shot five men? It weren't true. That Mexican that come at me with a knife, I just busted his leg with a shovel. I didn't kill him or nothing, neither.

Will Munny: Well, you sure killed the hell outta that fella today.

One of the prostitute meets them with the money and also informs them that little Bill caught Ned and killed him during interrogation. Will sends the kid off with the money and heads back into town. Will's transformation is shocking and instant. Watch it here:



When he sees Ned's body propped up in front of the saloon with a warning sign hung on it for assassin's it's clear that the showdown is inevitable. Will walks in and shoots the saloon owner for having Ned outside. He then shoots Little Bill and everyone who pulled out a gun to shoot him. Despite many attempts no one manages to hit Will. Beauchamp is mystified, and quizzes Will about the order in which he killed them attempting to come up with some logic to explain this impossible task.
W.W. Beauchamp: Who, uh, who'd you kill first?


Will Munny: Huh?

W.W. Beauchamp: When confronted by superior numbers, an experienced gunfighter will always fire on the best shot first.

Will Munny: Is that so?

W.W. Beauchamp: Yeah, Little Bill told me that. And you probably killed him first, didn't you?

Will Munny: I was lucky in the order, but I've always been lucky when it comes to killin' folks.

W.W. Beauchamp: And so, who was next? It was Clyde, right? You must have killed Clyde. Well, it could have been Deputy Andy. Wasn't it? Or, or...

[Will points the rifle in his face]

Will Munny: All I can tell you is who's gonna be last.

Will rides out of town yelling a warning to everyone. Some gunman hide in alleyways and shadows but none can get up the nerve to fire a shot. The movie ends with text referring to Will's mother in law:
 
"Some years later, Mrs. Ansonia Feathers made the arduous journey to Hodgeman County to visit the last resting place of her only daughter. William Munny had long since disappeared with the children... some said to San Francisco where it was rumored he prospered in dry goods. And there was nothing on the marker to explain to Mrs. Feathers why her only daughter had married a known thief and murderer, a man of notoriously vicious and intemperate disposition."


And we don't know either, but we do know that it isn't as simple as hero and villian. We suspect that Munny will always wrestle with the bad part of himself, whether he can achieve any sort of redemption is unclear. And what about Little Bill whose only crime was being to severe in his application of the law? Eastwood gives an answer earlier in the fil when Will says:
"deserve's got nothing to do with it."