Review: A Few Dollars More

This is the second part of a three-part series of review essays on the Man with No Name trilogy. Keep in mind that this is meant to be a personal critique of the movie, specifically of the particular filmmaking techniques and their use in storytelling. Regardless, pop in the DVD (or BluRay or VHS) and follow along. I hope you enjoy it, and any response (positive or negative) would be much appreciated.

A Few Dollars More is a subtly brilliant title that plays at the fact that the main characters are bounty hunters, ruthless individuals assumed to be motivated by money alone. This is a small tongue-in-cheek play at the morality of the characters of Clint Eastwood (casually referred to as Manco or "one-armed") and his partner Lee Van Cleef (Colonel Douglas Mortimer). Throughout the film, there are several setups and payoffs which are designed to keep the audience interested in the story. As in the first review, I think it is relevant to mention the contrasts of the filming style of Leone with that of most American directors. Leone uses action rather than dialogue as the primary plot engine. Therefore, much of what I mention concerns the action and the ways in which Leone uses certain camera techniques to maximize this effect.

The title sequence is a great example of this. It begins with a man in the distance riding toward the camera. The sound track is silent, which allows the audience to focus on the sounds of the man approaching and eventually the action and report of a rifle. The shot comes from behind the camera, illustrated by the muzzle fire in the foreground. The man falls on the floor of the New Mexico desert. The horse, startled by a second shot, bolts from the screen as the opening credits roll. I believe this static shot of the dead man lying in the sun puts the audience in mind of the stark realities of the time and place. Then, right on cue, the following text appears on screen: "Where life had no value, death, sometimes, had its price. That is why the bounty killers appeared." This punctuates the feeling of the opening sequence; however, it is also another play on the morality of the "bounty killers".

The movie begins with an interaction between an unnamed merchant and Mortimer (hidden behind a Bible). I am unsure of the origination of the shot behind the book, but it has been used in other mediums. I like the ambiguity of the interaction at the outset, then the sudden switch after Mortimer lowers the book. As in the first installment of the series, Leone does a great job of establishing character personas early in the film. This is furthered in the interaction with the conductor about a minute later.

Backtracking a bit, the shot where Mortimer exits the train accomplishes two things at once. It serves to drive two points home. The first is the perspective of the train conductor, who is unsure why the train stopped, the other is to show that Mortimer exits (in the foreground). These are two very simple things to convey, but the concept is what is important. Further in the film, the audience is shown several things at once during the same shot. In order to avoid confusion, Leone uses the depth of the action to show distance or separation. This is illustrated soon after when Mortimer walks into the saloon. The shot shows the stereotypical piano player in the foreground, who, upon seeing the man enter, stops playing to observe a stranger. The action then continues in the background which ensures continuity into the next conversation between Mortimer and the bartender. Using a technique such as this gives the audience a sense of place within the environment, further engrossing their attention*.

As in A Fistful of Dollars, the main antagonist and the two main protagonists are believed by the rest of the characters to possess some station above that of ordinary men. This is implied in the previous scene with the stop of the piano. Of course, each of the three characters are highly skilled at handling a gun; however, they are assumed to be something more, something almost supernatural**.

In order to drive the main storyline, Leone uses a plot device, specifically a pocket watch carried by Mortimer. When it is first introduced, the action is actually directed away from it rather quickly. I believe this is key in building the suspense of the film, especially near the end. The watch begins with little significance, then it's importance builds along with the uncovering of the true motivation of Mortimer. This is, after all, his story as it begins and ends with his entrance and exit.

The villain of the story is a man named El Indio (the Indian), who is shown to be ruthless in the scene of his escape from prison. Then, he visits the home of the man who captured him. Indio orders the man's wife and child to be killed in return for his time in jail. Then, he gives the man a chance to avenge them. This is perhaps my favorite scene in the movie, especially when considered in conjunction with the final showdown. Leone again uses foreground and background action to illustrate distance as the two men face each other***. The shot behind Indio looking toward the lawman is brilliantly executed. The close-up of the lawman shows a single tear running down his face, which itself shows grief and anger. The real star of this scene is the music. Ennio Morricone's score is amazing more often than not, but the sudden switch from the hauntingly subdued melody from the watch to a raw, blaring organ playing the same theme perfectly captures the tension. The lawman, overwhelmed by the murder of his family, also feels the weight of doom fall upon him. Just as it finally hits home, the pocket watch melody returns, then a moment of silence before Indio kills him.

The next scene is one of Manco's character entering El Paso. These scenes on the streets of the small western towns are very well done, which must have required a ton of work. Each one has very subtle things that ensure continuity, the same carriage driving by after a cut, etc.

Indio's story about the safe hidden in the cabinet and its maker is delivered from the pulpit of the abandoned monastery. This is particularly poignant to me, as I have always admired the European style church design. Also, the willingness of Indio to mock the practices of the church reinforces a point similar to that made in A Fistful of Dollars, that the driving forces of this world are manifested through great men both good and evil.

Shortly after, Mortimer and Manco have their first scene together in the saloon. The shot of Manco looking across the bar as Mortimer descends the stairs segues into a very well-executed sequence between Mortimer and Indio's lackeys. As Leone has said, the Dollars trilogy movies are effectively silent films with small interludes of dialogue that help drive the story forward. Character development is left to the action. In this scene, Mortimer provokes one of the men (the hunchback) by lighting a match on his shoulder. The henchman is clearly ready to kill the instigator, but his partner stays his hand as he reaches swiftly for his pistol. On the other side of the action, Mortimer remains stoic, in control. The men exit as Mortimer finishes lighting his pipe. Both reactions serve to inform the audience of the nature of the men, which ultimately establishes suspense later****.

After a bit of comic relief (and information gathering on the part of each), Manco and Mortimer finally confront each other. I really enjoy the revisitation of the shot from the ground used in the final showdown in the previous film. This occurs as Mortimer walks out of his hotel, following the man who gathered his belongings without prompting. The rest of the scene builds the personas of each character further, but I will skip it for the sake of brevity.

I would like to mention the forming of the partnership and the subtle things used to convey information about the main storyline. Mortimer suggests that he and Manco partner up to take down Indio's gang. During this interaction, the camera cuts from behind Mortimer to behind Manco. The shot from behind Manco has Mortimer's face between Manco's face and his feet (which are propped on the table). This provides a sense of depth to the audience without resorting to the eastern style of shot which shows the profiles of both men facing each other. Also in this scene is a subtle reference to Mortimer's connection with Indio. Instead of using dialogue, Leone illustrates the point by reintroducing the central plot device. The scene ends with a cut to Indio, connected by the melody of the pocket watch. By executing it this way, the audience gets a teaser without spoiling the suspense.

Skipping forward a bit, Manco is now 'in' with Indio's gang. He is told to rob the bank in Santa Cruz in order to draw the law away. He rides out with three others, but instead of robbing the bank, he kills them in the wilderness. This scene is what most people think of when they think of Clint Eastwood, a cold hard executioner of justice with nothing but a gun and prodigious skill. I can honestly say that I still enjoy the image in spite of all of the jokes and imitations.

Another oft parodied part of the 'spaghetti westerns' is the drawn-out sequences that are full of close-up cuts between characters. Having watched these movies with several people, I find that their attention wanes during these scenes. If I could offer criticism, it might be to shorten these; however, it all depends on the audience intending to be reached. These movies are shot in an eastern style, one which tells a shorter story in the same (or longer) time frame as a longer western story. The difference is that the western (Hollywood) style focuses on non-stop action with a few slow scenes. I usually think of what George Lucas used to say to the actors while filming Star Wars, "Make is quicker and more intense." This method certainly has its place, but I believe it reflects the mood of westerners. They want their lives to be fast and action-packed. In the traditional east, life was seen as an experience to be digested in detail. In short, those in the west might think about doing 1000 different things each day. The eastern temperament focuses on doing one thing for 1000 different days.

The next section of the film's story takes the control away from the two protagonists and slowly shifts it in favor of the villain. This is the typical double cross story. Mortimer makes his first appearance to Indio in the saloon in Agua Caliente. Now both Mortimer and Manco are inside his circle, but, as in the first film, the villain is more cunning than they expect. After being caught in an attempt to steal the money from the heist, they are beaten by the group of outlaws. This leads them into the desperate situation of being prisoners waiting for death. Indio then further confuses them by planning their release, using a faux defector as an instrument. He kills Cochilo after framing him for the death of the man supposedly watching the prisoners. His knowledge of the true nature of 'Manco' delivers a terrible blow to the plan of the good guys. Indio's deceit is furthered when he attempts to hoodwink his men into chasing the prisoners into the desert, an action he is sure will result in the death of all of them because of the skill of Mortimer and Manco*****. To the audience, it looks as though this plan is perfectly executed, but Indio underestimates the combined strength and wit of the two bounty killers.

The next development in the central plot comes as Indio is waiting on Mortimer and Manco to kill the rest of the band. During the fight, he stares at the watch, and for the first time, the inside cover is exposed to the audience, revealing the portrait of a woman. A flashback ensues that shows how he acquired the watch and its significance to him. He invaded the home of a husband and wife, killing the man and raping the woman. During the latter act, the woman featured in the picture in the watch kills herself, leaving him contemplating the result of his actions. At this point, the audience finally gets a definite reason for the erratic and psychopathic behavior of Indio. In some deep recess of their morality, they might even empathize with the regret that he feels though few would admit it given their knowledge of his character. I feel that this is a key part of a villain. Truly evil individuals are easy for the average person to process; however, in reality there are no people like this. This part of the story speaks to redemption and those too cowardly to seek it. Everyone has a matter in their past which they know they must confront. Some are more unforgivable than others, and justice should be blind to it. That being said, justice is a heartless concept, and as humans, we all feel some compassion (or should) to those who have done wrong, not because we condone the act but because we ourselves might have been in the same place if placed in their circumstances.

Justice must have its place, though. Mortimer intends to be that hand of justice as he calls Indio from the house. The final scene begins with Mortimer shooting Indio's reinstated partner as he runs from the house. Mortimer then runs from cover toward the house but is foiled by a shot from Indio that disarms him. At this point, it looks as though Indio will continue his reign of terror, never finding peace from the crimes he has committed. As in the case of the lawman who put him behind bars, he has Mortimer at a disadvantage. The camera focuses on his face in a medium close-up, and from his expression, the audiences sees the familiar look of calm and composure as he prepares to execute him. This scene is still great if watched in silence because of the filmmaking alone; however, Leone's use of the film's theme makes it truly transcendent. The chimes play, they slow, Indio twitches toward his weapon, the audience, in suspense, believes Mortimer's end to be near, then the chimes return to their initial speed and the camera cuts to an awesome shot of Manco's hand raising an open pocket watch in the foreground amidst the two combatants who turn to look at him. The theme rises to a crescendo as Mortimer checks the chain at his waist to find his watch to be missing. Manco walks forward into the ring, leveling a rifle at Indio. Indio closes his own watch wistfully as Manco hands his own pistol to Mortimer. The music builds and a trumpet rings out******. Again the camera shows the face Indio, except now it is changed. Where Indio had confidence, now he exudes fear, knowing he is about to meet his maker. The camera cuts to the inside of Mortimer's watch showing the audience the same picture that is in Indio's watch. All is revealed, and justice is about to be served. The thing that Indio has been running from for so long has finally caught up with him. The same tear that touched the face of the lawman just before he was killed now rolls down Indio's cheek just as the chimes expire. A moment of silence, then BANG. Indio falls, mortally wounded.

Mortimer, once inclined to split the money with Manco, now tells him to keep the entire reward. The quote at the beginning of the film now comes back to mind. As the theme continues to play, now hauntingly, the audience is left to contemplate the true motivation of the bounty killers. Manco comically finishes off the last man of the gang as Mortimer rides into the sunset, leaving him to collect the bodies and eventually the 'few dollars more'.

Writing this review is very enlightening to me as an amateur filmmaker and very moving to me as a person. I hope that it might insight some thought and feedback from anyone who might read it. Until next time, adieu.

* This could have been shot in "John Wayne style" by looking over Mortimer's shoulder as he walked in with the piano player either on the back wall going in or in the same position using a cut; however, the action is much smoother because of the shot actually used.

** Since I addressed this particular plot nuance at length in my review of "A Fistful of Dollars", I do not elaborate more here.

*** A subtle addition to this scene is a minor plot device that is used later: the knife of Cochilo, Indio's henchman. It is used  in this scene to cut the bonds of the lawman before the duel, but it makes a reappearance later, first as a trick to impress Indio, then as the condemning evidence against its owner.

**** The scene in the Agua Caliente saloon near the end of the film is enhances by this interaction. It sets the stage for the hunchback's actions and Mortimer's response.

***** One of his gang doesn't take the bait, but because the money is gone (thrown into a tree by Manco) he is ironically saved.

****** This gives me chills every time I watch it.