A Fistful Of Dynamite - Special Edition
This really is an event, comparable only to the release of a lost Stanley Kubrick or Akira Kurosawa or David Lean film during the height of their creative outputs. Possibly even the biggest DVD release event since the introduction of DVD players. Although, released in a similar version on Laserdisc during the 90’s, this is the fully restored and final version of one of the best films ever made, th
This really is an event, comparable only to the release of a lost Stanley Kubrick or Akira Kurosawa or David Lean film during the height of their creative outputs. Possibly even the biggest DVD release event since the introduction of DVD players. Although, released in a similar version on Laserdisc during the 90’s, this is the fully restored and final version of one of the best films ever made, that incorporates more material than the Channel 5 TV release a few years ago and is presented in full Technoscope. Not only is the film an absolute masterpiece but the transfer is pixel perfect, the sound as crystal clear as it will ever be and is presented in another 2 disc Special Edition. The film has some of the most complexly beautiful Cinematography that was director Sergio Leone’s trademark, acting from Rod Steiger that is some of the best seen in a big budget film (comparable even to De Niro in the smaller MEAN STREETS), a superlative performance by James Coburn, music that you can’t get out of your head for days after seeing it, and a story that ranks as one of the surely great epic topics… revolution. Don’t read any more of this review, this is all you need to know, just click on your favourite online DVD supplier and order a copy right now. Mine is already on order, in fact it should have already arrived by the time you read this.
Apart from digressions I don’t want to say too much about the story apart from the fact that it is set at a point during the start of the Mexican revolution in 1913, or as Christopher Frayling says in the commentary, it takes place during the “dying embers of a fascistic regime trying to cling to power”. However, it is also, a mythical cinematic depiction of that revolution and whether you know about it or not will make little difference to the viewing experience of this film. This version also has the original film name, DUCK YOU SUCKER, Leone’s own preferred English title, that doesn’t quite match the translation of the original Italian title, ‘Keep Your Head Down’, or the now accepted English title A FISTFUL OF DYNAMITE, or the more popular French title ONCE UPON A TIME A REVOLUTION. It is more complex than Leone’s other westerns but still contains the same style that has made this director one of the greatest storytellers ever to make films. The humour of the Eastwood westerns is still evident, as is the style, apart from the fact that it has gotten more grandiose in Cinematography, Music, Story, Setting, and Direction. This film is a huge achievement on every level and hard to understand why it has remained in the shadow of cinema history for so long. In fact this film is so great if I ever saw it released at the cinema, I would even mount a train and take a long journey to the heaven sent cinema that decided to play it, an event I have only done for THE WILD BUNCH, ONCE UPON A TIME IN THE WEST and the English premiere of IN THE MOOD FOR LOVE.
COMMENTARY by CHRISTOPHER FRAYLING
Another great addition to the overall presentation of this DVD. Frayling again imparts his wealth of Leone knowledge to those of us wise enough to watch this extra. He tackles the film from so many different directions, that we are all left as experts. He tells us how this film was rejected by the left wing filmmakers of the time who believed that Leone had handled a subject that was in too deeper water for him to handle. Surprisingly, Pier Paolo Pasolini (the one of a kind Italian filmmaker) came to Leone’s rescue by stating that “Leone is incapable of making an uninteresting film and this is one of the most interesting that he has made”. A truth well spotted and one you would expect from one of the great cinematic poets. Frayling also tells us that Leone had even had a meeting with Sam Peckinpah in London, to get him to direct the film, but even though Leone thought Peckinpah would accept it the deal fell through. There aren’t many occasions when one might be overjoyed that Peckinpah turned down a film but this is definitely one of them. We are told about details of the time when the film was set, in Mexico in 1913, the political climate in Italy at the time of the films release, as well as the climate post 1968 Europe. He discusses details of the films style, anecdotes of the filming itself, stories from around the periphery, fallouts between Steiger and Leone, etc etc. He also tells us that, at Steiger’s assistance, Steiger’s character was the first film in which Leone had recorded a characters dialogue on set. This could be one of the reasons why Steiger’s performance is so remarkable.
DISC 2
This disc is divided into 8 sections that are all listed underneath each other.
SECTION 1 – DOCUMENTARIES
This section comprises of 2 documentaries.
1. THE MYTH OF REVOLUTION (21 mins)
This has Christopher Frayling, the man who must surely have played a huge part in these Leone films’ restorations, telling us about many interesting backdrops to the films production and the story itself. He tells us that Leone was only 42 when he made this film and discusses why this film tackled the Myth of the Revolution being a heroic act. He ties it into the climate of the times in Italy, post 1968, where terrorism hit the streets of Rome for the first time since the Nazis left. He also takes us through the casting of the two leads, telling us that Malcolm Mcdowell was originally considered in the Coburn role, and Eli Wallach for the Steiger character Juan. This section is a great complementary extra to the film itself and is so packed with details and curiosities that you wish it would go on for an hour, but hey that’s why we also have Frayling’s commentary as well.
2. SERGIO DONATI REMEMBERS DUCK YOU SUCKER (7 mins)
Sergio Donati, the co-screenwriter discusses some anecdotes surrounding the film, including details such as Leone originally wanting to take on the Producer role only and that he wanted Peter Bogdanovich to direct. After they had a disagreement in direction, Leone then hired an Italian director, who was subsequently replaced after 2 days of shooting by Leone himself. The reason for this, I will leave for you to discover yourself. He cries the fact that Leone only made 1 more film after this, calling it a tragedy for cinema. He even says how he tried to coax Leone to make a smaller black and white movie set in contemporary Italy. Frayling, in one of the other sections, recalls Leone’s reaction to this, with Leone saying “what, a film with no tanks…” or words to that effect.
SECTION 2 – SORTING OUT THE VERSIONS (11 MINS)
Glenn Erickson, talks us through the various versions of this film before it evolved into this particular one. This is accompanied by the relevant film clips, so we never get lost as to what he is talking about. In the USA, this film was some 22 minutes shorter than the original Italian release and was minus the now fully restored flash back that now concludes this film and provides a totally different ending for the Coburn character and thus, the film itself. We also see some stills from deleted scenes and get a complete rundown where this version has come from. As soon as the film is over this is the best section to watch first. He also tells us about the fully restored genocide scene in the Death Pits, one of the most breath taking shots in cinema history. After it ended I realised I was sat there with my mouth hanging open, like a dog that’s just been forced to watch another eat a cat. Truly phenomenal. As is the restoration of the genocide scene in the cave, that is now a number of minutes longer than it was originally. This scene has acting by Steiger that defies words, reminded me of my own personal favourite pieces of acting from films (Tom Hulce in DOMINIC AND EUGENE, when he reacts to the death of his young friend, and Al Pacino, at the end of …AND JUSTICE FOR ALL, when he decides to attack the man he is defending in his courtroom surmise). Steiger is truly one of the greats, fantastic scene.
This section is like an analysis of the different versions and once again I was left hoping that it would go on and on. This is the kind of segment that they should be showing in film schools, so people in this country can learn to consider all of those elements that contribute to making decent films The important information from Erickson comes at the end though, when he simply states “this is Sergio Leone’s original cut”. And what a cut it is…
SECTION 3 – ONCE UPON A TIME IN ITALY (6 mins)
This shows a work in progress, one that left me thinking I got to charter a plane to get to this event, even though that is neither a reality or even a distant possibility. It is for a museum exhibition called ‘ONCE UPON A TIME IN ITALY…THE WESTERNS OF SERGIO LEONE. Frayling tells us and show us around the forthcoming exhibition (July 2005) at Aurty National Centre’s Museum of the American West. For further info check this out, it looks like it will be a pretty formidable affair if the list of directors is anything to go by, www.autry-museum.org/explore/exhibits/leone/index.php
SECTION 4 – RESTORATION ITALIAN STYLE (6 mins)
Like with the other Leone Special Editions, the man responsible for overseeing these restorations also discusses this films evolution. He also says interestingly, that this films picture restoration was easier than the others he has overseen because the technology at the time of shooting had also evolved. Thus the picture is perfect. The sound though, was more problematic for turning it into a 5.1 mix, as they only had an original mono track from which to work. However, luckily, they have done a fantastic job, even though you will have to crank the sound all the way to the top to get the full experience from the film.
SECTION 5 – LOCATION COMPARISONS (9 mins)
Once again, not for everyone but this section is interesting and is accompanied by the great music from the film. For some reason I can’t help watching these sections without feeling a certain air of sadness and nostalgia.
SECTION 6 – RADIO SPOTS (4 mins)
According to the American radio spot, this film was a PG when it was originally released. Those lost 22 minutes really must have been the heart of the film. The interesting thing about these radio spots is that you really can see a way why the radio is a great medium for film advertising. Although I know most people couldn’t give a wet turd about this part, you really see how sound design can be used. In fact these radio spots even make this look like an art form, which arguably it is. There are 7 variations in total and all got my …. hard to see the film again.
SECTION 7 – ORIGINAL TRAILER (3mins 30 secs)
This is a good trailer, one of the ones worth watching, check it out, what more can I say.
SECTION 8 – PHOTOGRAPHS (30 PICTURES)
There are some great photos in this small bunch. You navigate through them yourself and discover a few publicity stills from the film, as well as some of the ‘on-set’ variety. We see Leone a few times and look out for last one, it gets over what everyone keeps saying, that he has a great sense of humour. It is such a shame that few interviews seem to exist. They would be great to see. Anyway these pictures will have to do.
The only things missing from this Special Edition are historical Leone interviews or one of those segments when current filmmakers discuss why this film is a pure work of cinematic genius. Apart from that, this DVD is perfect and hard to see where it could be improved. Most importantly the film is of fantastic quality, The restoration looks about as perfect as it could possible be. It is the original Leone Italian version, so everything that was meant to be in the film is in it. The extras are all interesting and well set out, all easily accessible. The wealth of information contained on the bonus disc and on the commentary would be interesting to either fans of film students. There is more in this commentary than they could possibly get from any lecture at university. There is one small insert shot that summarises the genius of this film for me, just a little detail. There is one scene when Coburn blows up a bridge, a huge explosion takes place and we get one small insert after the blast where we see Coburn being blown backwards by the sheer force of the explosion. True genius. I can’t recommend this enough, so I will do it just once more. Don’t hesitate, click on Kelkoo and order the cheapest one you can find. The quicker you do it, the quicker it will arrive. This is simply one of the best big budget film’s ever made and now it has finally been released you really have got to own it, not most importantly see the film, but also so you can walk past your DVD pile and feel that reassurance that life has been good to you once again.
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