After an inspiring streak of three great, near perfect Blind Spots, we really hit a low. I won’t hesitate to call this one the worst blind spot watch of the year. So it’s probably time I remind everyone that my ratings are a reflection of my enjoyment of a film, and not necessarily of its quality (even though that is an endless discussion right there). While Sergio Leone’s Il Buono, Il Bruto, Il Cattivo (1966) may be number 9 in IMDB’s Top 250 Movies of All-Time, it’s not in mine, and that’s okay.
Are westerns the issue? Halfway through the film I took a break (needed many of those) to look at my letterboxd account and check if I had ever seen a western besides Butch Cassidy and the Sundance Kid (which I thoroughly enjoyed) and 3:10 To Yuma (which I largely can’t remember).
And for the most part, I’ve either seen modern westerns, or classic ones that are not really typical, at least when compared to this one. Some are even favourite movies of mine, though I wouldn’t put The Assassination of Jesse James by The Coward Robert Ford (2007), or even Hud (1963), next to The Good, The Bad and The Ugly (1966).
You see, in this world there’s two kinds of people, my friend: Those with loaded guns and those who dig. You dig.— Blondie, in The Good, The Bad and The Ugly (1966)
There were some good moments though. Like the truel and the cemetery, and Tuco having a bath. A couple of jokes landed, too. The movie absolutely thrived in those scenes and I could feel myself wake up for a bit and know exactly why The Good, The Bad and The Ugly (1966) is so beloved.
But mostly it was just a whole lot of riding, staring, and smoking. And shooting. Sometimes all the same time. Of speaking slowly, but mostly saying nothing. I’m not opposed to slow movies with long running times (the above mentioned favourites prove just that), but this was painfully boring for most of its run.
When you have to shoot, shoot. Don’t talk.
— Tuco, in Il Buono, Il Brutto, Il Cattivo (1966)
And I know I will get hell for this but the score also really tried my patience. Yes, Morricone composed some iconic tracks, and those were great (I mean, really great), but I can’t get over how annoying the sentimental ones were. Visually there was very little to hold on to as well. It’s purely a subjective matter, but ashy, desaturated colours, with little contrast and where everything is a shade of brown and sweat, really aren’t my aesthetic.
Best part of it was probably the acting: Wallach was pretty entertaining and funny (definitely the most energetic of the three), and Eastwood is effortlessly cool wearing a poncho. Van Cleef was aptly like a cheshire cat. But yes, this was not my cup of tea at all.
Now, you know I like to keep things positive, but I’m also honest, and so I couldn’t write this post any differently. I don’t see myself revisiting this one in the next 30 years but I’m open to suggestions for good westerns. I’ve always wanted to see High Noon because I figured, besides Paul Newman, Gary Cooper is the man to make me enjoy any film – so hit me up in the comments with the ones you think I’ll like!
