For a Few Dollars More

For a Few Dollars More(1965)

R
12/18/1965 (US)Western2h 12m
8.0

"The man with no name is back... the man in black is waiting... a walking arsenal - he uncoils, strikes and kills!"

Overview

Two bounty hunters both pursue the brutal and sadistic bandit, El Indio, who has a large bounty on his head.

Sergio Leone

Screenplay

Sergio Leone

Director

Luciano Vincenzoni

Screenplay

Fulvio Morsella

Story

Sergio Leone

Story

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Media

Official Sizzle

Official Sizzle

Trailer

Official Trailer

Official Trailer

Trailer

Arrow UHD Unboxing

Arrow UHD Unboxing

Featurette

Best Shots in For a Few Dollars More (1965) | Compilation

Best Shots in For a Few Dollars More (1965) | Compilation

Featurette

Mortimer Arrives in Town

Mortimer Arrives in Town

Clip

Gunfight In The Church Scene

Gunfight In The Church Scene

Clip

Monco Shoots The Apple Tree

Monco Shoots The Apple Tree

Clip

Monco Meets His Match

Monco Meets His Match

Clip

Saloon Scene

Saloon Scene

Clip

Ernest Dickerson on FOR A FEW DOLLARS MORE

Ernest Dickerson on FOR A FEW DOLLARS MORE

Featurette

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J
A review by John Chard
9.0

Written on November 15, 2015

I was worried about you - all alone, with so many problems to solve...

The middle part of Sergio Leone's dollars trilogy sandwich is a mighty hunk of meat and pasta. Plot has Clint Eastwood and Lee Van Cleef as bounty hunters who form a very uneasy alliance to bring down violent bandit El Indio (Gian Maria Volontè) and his gang.

As befitting Leone in this sub-genre, the pic positively oozes charisma and class. His compositions are as striking as the coolness he wrings out from his lead actors, the characterisations bristling with a calm grizzle factor that beguiles as the story jumps from violence to suspense, from humour to misery, with surprises is store as well. The screenplay adheres to some clichés of the Western formula, but never at a cost to suspense and mystery, such as with the finale that looks set to be formulaic, but joyfully brings its own identity whilst simultaneously adding extra layers to the protags and antag. The dialogue (Leone and Luciano Vincenzoni) pings with literacy, something which is a pleasant mercy in the Spaghetti Western world, while Morricone fills the key scenes with aural shards of atmospheric delight.

A great film in its own standalone right, but also a super precursor to The Good, the Bad and the Ugly. 9/10