This is the definitive book on Leone's complete film work. In this first book-length analysis of Leone's work and vision, Cumbow discusses the director's unique contribution to the American western, the epic film tradition, and such masters as John Ford and Akira Kurosawa. Chapters are devoted to each of Leone's films as director. Includes a chronology of Leone's career, bibliography, and detailed filmography, including plot synopses.

In the mid-1960s an unknown Italian film director named Sergio Leone was given $200,000 and some leftover film stock, and he went to make a Western. With an American TV actor named Clint Eastwood and a script based on a samurai epic, Leone wound up creating "A Fistful of Dollars", the first in a trilogy of films (with "For a Few Dollars More" and "The Good, the Bad, and the Ugly") that was violent, cynical, and visually stunning. Along with his later masterpiece, "Once Upon a Time in the West", these films came to define the Spaghetti Western

Spectacle, myth, fable - these words instantly leap to mind when considering director Sergio Leone's celebrated films. His popularization of the Spaghetti Western genre, through works like A Fistful of Dollars (1964) and Once Upon a Time in the West (1968), continues to have a profound impact on filmmakers worldwide. In this exciting new study, Italian film scholar Christian Uva explores a side of Leone's works rarely before discussed: the political. Grappling with the contradictions between Leone's politically critical cinematic eye and his aversion to ideological classification, Sergio Leone: Cinema as Political Fable makes sense of how the director's internal political tensions shaped the radical themes of his Western fables. Looking at Leone and his films through a number of lenses, the book examines the elements of Italian history and identity interwoven in the director's stories, provides cultural context for a career spanning from Italy's fascist regime to Leone's death in 1989, and discusses the influences that formed Leone's directorial identity. Uva focuses in particular on the postmodernist theory behind Leone's works, revealing the critical basis of his stylistic and narrative innovations and newly analyzing the most iconic sequences from The Good, the Bad, and the Ugly (1967), Duck, You Sucker (1971), and Once Upon a Time in America (1984). An admirably thorough take on the man and his works, Sergio Leone: Cinema as Political Fable provides fresh perspective on a director long-established in cinema canon.

Few directors are characterized by both extraordinary film craft and the ironic reputation for lowbrow films. Despite his many achievements as a child of the Italian Cinecitta studios, however, Sergio Leone has been judged severely by writers who find his films lacking in ideas and moralists who find his films unduly cynical. Nevertheless, Leone's greatest cinematic achievement, Once Upon a Time in the West, served to refute these criticisms while exposing the director's unique romanticism and artistic ambition. As Leone's fourth successful American western film, Once Upon a Time in the West earned him acclaim for liberating the western genre, restoring it to a place of antique American simplicity. The principal goal of this book is to sharpen an appreciation for Sergio Leone and his most famous American western. The first two chapters deal with the relationship between Once Upon a Time in the West and the western films that preceded it, particularly those of John Ford. Subsequent chapters concentrate on the central characters of Once Upon a Time in the West, with special attention to Jill, Leone's first female protagonist and a surprisingly successful character, central to the plot and accorded a kind of existential strength usually reserved for men in Westerns. The sixth, seventh and eighth chapters address Leone's visual style, which represents a unique fusion of Hollywood classicism and modernism, and reveals the influences of Italian Surrealism and the French New Wave. The final chapters explore the rhythm, romanticism, and musical character of Once Upon a Time in the West, espousing the theory that Leone's approach to film is, above all, musical.

The great American Western would never be the same after Italian director Sergio Leones spaghetti-western revolution.

The landmark biography of one of the twentieth century's most recognizable directors--now back in print

“Christopher Frayling's Spaghetti Westerns is a particularly entertaining and enjoyably readable book. Frayling is obviously both a film buff and film critic, so he is able to appreciate Spaghetti Westerns as popular entertainments, to celebrate their cinematic stylishness, while simultaneously knowledgeably exploring their many social and political dimensions.” – Gary Crowdus, Cineaste “Unquestionably the single best book written about the Western.” – Journal of Popular Film and Television

"Once Upon a Time in the West was the movie that made me consider filmmaking."-Quentin Tarantino Sergio Leone's film Once Upon a Time in the Westset out to be the ultimate Western--a celebration of the power of classic Hollywood cinema, a meditation on the making of America and a lament for the decline of one of the most cherished film genres in the form of a "dance of death." With this film, Leone said a fond farewell to the noisy and flamboyant world of the Italian Western, which he had created with A Fistful of Dollars and sequels, and aimed for something much more ambitious--an exploration of the relationship between myth ("Once Upon a Time..."), history ("...in the West") and his own autobiography as an avid film-goer. This would be a horse opera in which the arias aren't sung, they are stared. Once Upon a Time has since inspired several generations of filmmakers worldwide. Its combination of "film about film" with an angry historical epic, told with great style, has resonated for half a century, and its reputation has steadily grown. This book, by the world-renowned authority on Sergio Leone, Christopher Frayling, includes revealing personal interviews with all the key players involved in the movie (in front of the camera and behind it) a wealth of never-before-published documents, designs and photographs, and the latest research into the making of a masterpiece, shot by shot. It is introduced with a foreword by Quentin Tarantino. This year is the 50th anniversary of Once Upon a Time in the West and this richly illustrated book is a suitably spectacular birthday tribute.

Master composer Ennio Morricone's scores go hand-in-hand with the idea of the Western film. Often considered the world's greatest living film composer, and most widely known for his innovative scores to The Good, the Bad, and the Ugly and the other Sergio Leone's movies, The Mission, Cinema Paradiso and more recently, The Hateful Eight, Morricone has spent the past 60 years reinventing the sound of cinema. In Ennio Morricone: In His Own Words, composers Ennio Morricone and Alessandro De Rosa present a years-long discussion of life, music, and the marvelous and unpredictable ways that the two come into contact with and influence each other. The result is what Morricone himself defines: "beyond a shadow of a doubt the best book ever written about me, the most authentic, the most detailed and well curated. The truest." Opening for the first time the door of his creative laboratory, Morricone offers an exhaustive and rich account of his life, from his early years of study to genre-defining collaborations with the most important Italian and international directors, including Leone, Bertolucci, Pasolini, Argento, Tornatore, Malick, Carpenter, Stone, Nichols, De Palma, Beatty, Levinson, Almodóvar, Polanski, and Tarantino. In the process, Morricone unveils the curious relationship that links music and images in cinema, as well as the creative urgency at the foundation of his experimentations with "absolute music". Throughout these conversations with De Rosa, Morricone dispenses invaluable insights not only on composing but also on the broader process of adaptation and what it means to be human. As he reminds us, "Coming into contact with memories doesn't only entail the melancholy of something that slips away with time, but also looking forward, understanding who I am now. And who knows what else may still happen."