ironhorse_iv
Made after the success of the 'The Dollars trilogy', (1964's A Fistful of Dollars, 1965's For a Few Dollars More and 1966'sThe Good, the Bad and the Ugly) and a few years after one- off success of 1968's 'Once Upon a Time in the West', 'Duck! You Sucker!' was director Sergio Leone's last Spaghetti western. It was, as well, one of his most overlooked films. I think, one of the reasons why this movie didn't really shine and became an overnight success, was because, of the odd title. Known as 'Giu La Testa'(Keep your head down') in Italy, the title didn't really translate well with the American audience. For me, 'Duck! You Sucker!' sounds more like a Blaxploitation movie, than a Spaghetti Western. It's sound too cartoony. Because of that, I really didn't like the title. I'm one of those critics; that agrees with the studio. They should had retitling the film. They should had changed it to 'A Fistful of Dynamite'. That title works so much better, because how much this story, remind us, of Leone's older films, while, also giving us, something new. Better yet, I would rather see the movie be call, by its French title, 'Once Upon a Time in a Revolution', because it match so well with Sergio Leone's other 'Once Upon a Time' films. Though, all of those 'Once' films, widely differ in location, character and time periods, the recurrent themes of time and memory, plays a big part of these films. Not only that, Leone's style alters sharply here. It's here, where you see his bitter metamorphosis from Spaghetti Western to gritty post-modern Polizieschi crime drama. In scope, Sergio knew, times were indeed changing. Audience weren't as interested in Westerns, anymore. Sergio was able to show, with this Zapata film, in a metaphor way. He shows that the 19th century, primitive frontier life was indeed dying, to make way, for the 20th century, complex, and post-industrial revolution life. The way, he use weapons like dynamite, trains, machine guns, and tanks as a metaphor to bring the end of western is haunting. It's scary, when you think, deep around it. After all, a lot of his dark imagery here, remind us, way too much of massive World Wars imagery that later would come alive. Still, it wasn't that dark, there were a lot of cool, bloodless action moments, extreme close-ups, semi smart dialogue, great epic scope in cinematography, and funny moments to make it, a more rounded picture. Also, the moody soundtrack by composter Ennio Morricone was beautiful and simply wonderful to listen to. It match the film, so well. Set during the Mexico Revolution of the 1910s, the film tells the story of Juan Miranda (Rod Steiger), an amoral Mexican outlaw, and John Mallory (James Coburn), an ex-Irish Republican revolutionary, trying to rob a bank, only to find themselves, accidentally and involuntarily becoming heroes of the Revolution. I love the allegory that Leone is using with these two main protagonists. Miranda is the old, Mexican bandit unaware that his era is almost over. And then we have Mallory as the 20th Century bandit, unaware where his love for technology is going to take him. While, it's might be hard to cheer, for two main characters who are technically murderers, rapist, and terrorists. At least, the movie gives them, enough positive depth and character development to overlook their dark side and faults. However, it's hard to understand what motivates them to do what, they do, since both Mallory and Miranda hates revolutions. Despite that, both actors in this movie were amazing in their roles. James Coburn is able to show how haunted, his character was, with his past, while also dreaming of living the American Dream. I love the scene where he was in the pub, looking at the mirror at his betrayer. Very moving. Then you got Rod Steiger, who pretty much seem like a real-life Mexican bandit. Despite the fact that he is playing off, a carbon copy of the Tuco's buffoon type character from 1966's 'The Good, the Bad and the Ugly'. He was still able to pull this off with his strict method acting. After all, the character was originally written for actor, Eli Wallach, instead of him. Lucky for him, Eli Wallach drop out, during the early stages of production. That wasn't the only time, he got lucky. The studio save him, a second time, when Leone wanted to replace him, with Wallach, after they butt-heads over Steiger demands on Leone to film his scenes with natural sound. Once again, Steiger won out, and Wallach was cause to subsequently sued, when Wallach had to dropped out of the other project when Leone promise him, the role. While, Steiger and Leone didn't get along, I thought, personally, that he had great screen chemistry with his co-star, James Coburn. Both, seem to work best with each other. However, other than them. Most of the supporting characters were very bland and underdeveloped. Another conflict, I had with the movie is the pacing. Like, any other of Sergio Leone's movies, this movie also suffers from a long seat. It was slow and tedious, at parts. 157 is a lot of minutes sit through. I know, not all U.S versions of this movie has that long of a run-time, but most modern DVDs has this same copy, in which I watch this film. All, I know, about the other copies, is that it's 22 minutes, shorter with awkward editing. The ending is also disappointing. Without spoiling it, it's bittersweet, at best, but also a bit anti-climax. Overall: I wouldn't call this my favorite Leone film, but it's still worth checking out. There's just something very appealing about it. Check it out, if you want. Just note, it does have problems.
