by Mack Cox

Created on: December 16, 2010   Last Updated: December 19, 2010

No other film seamlessly blends imagery, dialogue and music so effectively. Sergio Leone took full advantage of his canvas and used every tool at his disposal. 'The Good, The Bad and The Ugly' is not only the finest example of the Western, it is the definitive action epic, rivalled only by Kurosawa's 'Seven Samurai.'  Ennio Morricone's score further energizes the vibrant cinematography and dynamic camera work, highlighted by epic pans, intense close-ups and stylized action the likes of which influenced generations of filmmakers to come. And without Mickey Knox, the English dialogue wouldn't be as curt, cool or clever.

Eli Wallach absolutely steals the show as the rash, brutal outlaw,Tuco "The Ugly" Ramirez, who is also the most empathetic and human of the main characters, which makes sense given the religious connotations ingrained in the film. Tuco's reunion with his priest brother is genuinely moving. Even more impressive when you consider that the actor playing his brother was dubbed over in english. It also needs to be said that Tuco's treasure hunt in the graveyard is arguably the most mesmerizing scene ever captured on film, accentuated by Morricone's  "Ecstacy of Gold."

Clint Eastwood is at his best, as the calm, quick-witted bounty hunter, 'Blondie,' who outsmarts and outshoots anyone who crosses his path. Essentially playing the same character as in "Fistful" and "For a Few Dollars More," Eastwood defined the anti-hero and set the standard for decades of laconic badasses. Along the way, he provides a little insight into the horrors of war and its hefty cost through one powerful line, "I've never seen so many men wasted." Conveniently released during the height of the Vietnam War, one can't help but think that Leone was making a statement on Vietnam, using the Civil War as an allegory. You'll have to forgive this action epic for not devoting more time to social commentary, but I believe that single declarative statement said more than one of those two-hour political thrillers starring Sean Penn. Words are used economically in this picture and they are doubly potent as a result.

Lee Van Cleef cements his reputation as the most prolific star in the history of Spaghetti Westerns with his villainous portrayal of "Angel Eyes," a.k.a 'The Bad.' His character is very similar to Blondie, both being cold and composed, and never at a loss for a sardonic comment. And both characters are quick shots who leave large body counts in their wake. The line between good and evil is drawn, it's just a little burry. However, Blondie kills armed men who are either murderers or are aiming to be. 'Angel Eyes' introduces himself by almost killing an entire family and murdering a defenseless old man in cold blood while he's confined to his bed. 

 It's easy to see why film critics of the day, who had yet to experience the so-called liberalization of the American media, were apalled by the blunt depiction of violence. But then in the words of Sergio Leone, "The west was made by violent, uncomplicated men, and it is this strength and simplicity that I try to recapture in my pictures."

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