The Good, the Bad and the Ugly

The Good, the Bad and the Ugly (the last of Sergio Leone's Dollars trilogy) at its best represents some of the finest filmmaking seen in any genre, and is almost certainly the cream of the crop as far as Westerns go. Though a bit long at 161 minutes, Leone succeeds in creating a Western that is instantly recognizable as representative of its ilk, while at the same time panning the conventions upon which the genre was built. The result is a sweeping, and at precious few times (so we can appreciate those scenes all the more) breathtakingly riveting motion picture that calls into question the meaning of what it is to be the good, the bad, and the ugly.

The trio, from the start, makes these meanings seem simple enough. The outlaw Tuco (Eli Wallach) is introduced as the ugly, and is apparently a bumbling and scattershot outlaw, though supremely skilled with a weapon. Angel Eyes (Lee Van Cleef) seems to be the prototypical "bad," sporting a black hat and getting paid by two men who want each other dead (both of whom he obliges). Blondie (Clint Eastwood) is the good, saving Tuco from meeting his demise at the hands of a gang of bounty hunters. This apparent simplicity is broken down throughout the course of the film, as betrayals and crimes on the part of all three reveal the good, the bad, and the ugly to be far more similar in their self-interestedness than we at first imagined. After a while, the difference between the emblematic white and black hats is not quite what it used to be.

The plot is simple: there is a small fortune buried somewhere, and all three men desire it for themselves. The complexity comes in the form of the men, and their vastly unique personalities. Leone does an outstanding job getting the best out of his actors, notably from their eyes. Van Cleef's performance in the first third of the film is nothing short of sublime, as his piercing glares reveal a man of sinister intent. It's a shame the film gets away from his character for a lengthy stretch in the middle of the story. Alternatively, Tuco is consistently and appropriately wild-eyed, his attention constantly shifting, always scanning his surroundings. Wallach is fantastic throughout the movie and really ends up stealing the show, making Tuco humorously charming even at his most despicable. Eastwood gives a strong, though not particularly noteworthy, performance. There isn't much need for him to be exemplary, either; Blondie, by nature, simply does not say or do much that does not need saying or doing. His eyes exude a quiet, unwavering confidence that tends to subjugate those around him.

Although the three main characters dominate most of the movie, Aldo Giuffre gives a terrific minor performance as a drunken Union captain in the midst of a battle during the Civil War. The film's anti-war leanings are brought to the fore by his character, who humanizes the despondency of weary, beaten down soldiers with heartbreaking comedic gold. His line about alcohol being the greatest weapon known to man is brilliantly written and deftly delivered.

As great as the film is, not every scene is quite up to snuff. The showdown featuring Tuco and Blondie against Angel Eyes' gang is neither engaging nor suspenseful, possibly because the duo walks down a street casually without cover or protection, against all logic. Any shortcomings are all but forgotten during the final twenty minutes, which showcases some of the best direction ever seen in a motion picture. Set against Ennio Morricone's gripping score, the final standoff is incredibly intense, without a word needing to be spoken. The eyes, and the hands reaching for their respective pistols, tell us all we need to know about where these characters have been and where they are now. Tuco looks crazed and desperate for survival, Angel Eyes looks subtly terrified and out of his element, and Blondie looks calm, collected, and in complete control. And when the dust settles and the final credits roll, we have a new understanding of what it means to be the good, the bad, and the ugly.