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Spaghetti Westerns Essay Research Paper Which is

Spaghetti Westerns Essay, Research Paper


Which is the cheesiest? The answer is pretty obvious, but let?s take a close


look. ?Spaghetti Westerns,? as their called, are a genre of western films,


that have been created or filmed in Italy and are meant to portray the ?Wild


West? of America. ?Macaroni Westerns,? as I?ll call them, make up the


traditional western genre, made in the United States. Let?s take a look at the


similarities and differences of these genres, and at two films in particular


that represent each genre; The Good the Bad and the Ugly(1966) and Rio


Bravo(1959), which most critics will agree, are great examples of each genre.


Let?s start with the most obvious aspect that differs in the two genres.


?Macaroni Westerns? are the cheesiest. These films have are pure cheese. I


can barely sit through one of them. They have the typical characters; the hero(s),


the bad guy(s), the fair maiden, and the quirky sidekick(s). These characters


spout out cheesy lines, demonstrating how good or how bad they are, but they


language always remains basically clean. In the Spaghetti Westerns, the language


is a lot more diverse(lots of cussing). This is because each of these genres


play to a different audience. The ?Macaroni Westerns? are family films. They


present right, wrong, and have many morals played out, such as, ?no matter how


many bad people are trying to kill you, you can take them all on if you wear a


badge and talk like John Wayne.? The ?Macaroni Westerns? were typically


family movies, because it was typical Hollywood(serving to the masses, whatever


sells big). Violence, profanity, and not having blatantly evil and good


characters, wasn?t selling at the time, so we got ?Macaroni.? The


?Spaghetti Westerns,? on the other hand, were not trying to please


everybody.(just the Italian roughnecks) Sure, these westerns took a lot from the


traditional westerns, but they break away from the traditional ?Macaroni


Westerns? in many ways.(which we shall soon see) The ?Spaghetti Westerns?


play to a more liberal audience. They had a lot more creative liberty. Let?s


take a look at the aforementioned films in terms of plot, framing, editing,


sound and cinematography. The plot in Rio Bravo is your typical American


western. It is a ?conflict between civilized order and the lawless


frontier.?(Bordwell/Thompson p.56) We have our heros and bad guys laid out


before us in black and white. ?Colorado? is the typical hero who tries to


stay out of the conflict and then eventually sides with civilized order.


?Dude? is another hero who fallows the same path. Our bad guys are made


obvious from the early moments of the film by means of a murder. There isn?t


much to wonder about. In The Good the Bad and the Ugly, everything isn?t laid


out for us from the beginning. Our ?good guy? isn?t revealed till quite a


ways into the film. In this film, we get a pretty good idea who the worst guy


is, but we are left to constantly wonder where one of the main characters


stands, or if he will eventually become ?good.? We are forced to study each


character more as they develop, to know who they are. In Rio Bravo, you don?t


give it a second thought. Rio Bravo introduces the plot motivation at the very


beginning. The bad guy is in jail, and the heros have to keep him there till the


marshal arrives. In The Good the Bad and the Ugly, the motivation is revealed as


the 200,000 dollars, but most of the characters don?t know about it for half


the film. This film seems to stretch things out like that. Now let?s take a


look at the framing. In Rio Bravo, the framing seems to be very simple. The main


character is always in the center of the frame unless another character is


coming into the frame. In The Good the Bad and the Ugly, there is much more use


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p>of set framing. Many scenes and sequences are framed through window, alleys and


doorways. This type of framing seems to pull you into the film much more. It


creates framing in the same way that we frame things in the real world. Also, in


The Good the Bad and the Ugly, there are many more close ups than Rio Bravo, as


well as many extreme close ups that let you catch small eye and facial


movements. Next let?s discuss editing. The Good the Bad and the Ugly have, in


general, much longer shots than Rio Bravo does. These extremely long shots are


put together into extremely long scenes; again, much longer than Rio Bravo. Both


of these films use great amounts of continuity editing. That?s about as far as


Rio Bravo goes. The Good the Bad and the Ugly, goes much further with it?s use


of graphic editing. One sees graphic matches again and again in this film. One


great use of graphic matching occurs when a character points his gun towards the


camera, so that we stare down the barrel, then the film cuts to a cannon?s


barrel facing us and firing directly at us. Another great example would be the


match between the horses legs on the street and the thugs legs as they walk down


the hall toward one of our main characters. When we hear the horses legs stop,


we see the thugs legs stop. This helps the audience make the connection that the


thugs only move when there is noise to cover the sound of their steps. Another


piece of editing that we should take a look at are the fades. Fade in?s and


Fad out?s are very typical in westerns, and we see them in both of these


western genres, although there are significantly less fades in The Good the Bad


and The Ugly, than in Rio Bravo. Sound, and more specifically, music, is very


important for the overall feel of the film. In Rio Bravo, we have traditional


country cheese music, including the ol? sing-a-long cliche?. This is perfect


for the cheese that we see and hear from the characters. The music in The Good


the Bad and the Ugly is much different. It is much more dramatic and


orchestrated. It seems like more timeless music. An exception would be the theme


music that appears when something ?cool? is about to or currently happening.


These eerie whistle-like sounds cut through everything and let us know when


something important is happening. Let?s now move to lighting. This is an area


where we see more major differences between the two films. Rio Bravo uses the


traditional three light system of character lighting. There is the key light,


the fill light and the back light. This creates full and soft features for the


characters. The Good the Bad and The Ugly is a far throw from this style. In


most of the scenes there is only one major light source.(key light) There is


usually a strong key light, no back light, and very little, if any, fill light.


This makes for dark shadows and sharp features. This creates very dramatic


lighting for the scenes. Everything seems more intense and powerful. Let?s not


forget Cinematography. How about some generalizations. Many of the shots from


The Good the Bad and the Ugly have a very deep depth of focus compared to a much


more shallow depth of focus in Rio Bravo. There are also much deeper zooms in


The Good the Bad and the Ugly than in Rio Bravo. There are also many cliches


that we need to discuss. First of all, let?s talk about the names and


nick-names. In Rio Bravo, all of the heros have ?clever? little names. We


have Chance, Colorado, Dude, and Stumpy. We see these type of names show up in


The Good the Bad and the Ugly. In this film we have, Blondie, Angel Eyes, and


Shorty(not present very long). Another cliche is the ?bad guy gets shot and


falls from high above the ground to his death.? In both films we see this play


true as bad guys fall from rafters and buildings.

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