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* CaliforniaDoubling: [[https://www.fistfuloflocations.com/fod_compix.html Filmed]] in locations around UsefulNotes/{{Madrid}}, and in other parts of Spain.
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* CaliforniaDoubling: [[https://www.fistfuloflocations.com/fod_compix.html Filmed]] in locations around UsefulNotes/{{Madrid}}, UsefulNotes/{{Madrid}}[[note]]Unfortunately, the set where it was filmed [[https://meglioungiornodaleone.wordpress.com/hoyo-de-manzanares-2/ is no more]][[/note]], and in other parts of Spain.UsefulNotes/{{Spain}}.
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Changed line(s) 6 (click to see context) from:
* CaliforniaDoubling: [https://www.fistfuloflocations.com/fod_compix.html Filmed] in locations around UsefulNotes/{{Madrid}}, and in other parts of Spain.
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* CaliforniaDoubling: [https://www.[[https://www.fistfuloflocations.com/fod_compix.html Filmed] Filmed]] in locations around UsefulNotes/{{Madrid}}, and in other parts of Spain.
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* CaliforniaDoubling: [https://www.fistfuloflocations.com/fod_compix.html Filmed] in locations around UsefulNotes/{{Madrid}}, and in other parts of Spain.
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RVA is now a disambig.
Changed line(s) 21 (click to see context) from:
* RelationshipVoiceActor: Real-life husband-and-wife voiceover artists Bernie Grant and Joyce Gordon voice Ramon Rojo and his whore/hostage Marisol, and also in-universe husband and wife John and Consuelo Baxter, in the English dub.
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* RelationshipVoiceActor: RealLifeRelative: Real-life husband-and-wife voiceover artists Bernie Grant and Joyce Gordon voice Ramon Rojo and his whore/hostage Marisol, and also in-universe husband and wife John and Consuelo Baxter, in the English dub.
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* CompletelyDifferentTitle: Japan: ''Wilderness Bodyguard''
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Changed line(s) 23 (click to see context) from:
* TroubledProduction: Mostly due to Leone's fractious relationship with Jolly Films, who gave the film a minuscule budget, assured Leone that legal issues over the ''Yojimbo'' similarities had been cleared before shooting started ([[BlatantLies they hadn't]], resulting in a long, acrimonious lawsuit which delayed the movie's release) and fumbled its initial release, dumping it into second-run theaters and as the second feature on double bills. Creator/ClintEastwood remembers that midway through production, a Jolly executive visited the set to watch a day's shooting, then after viewing the rushes commented "Jesus, what a piece of shit!" to everyone within earshot. Eventually the movie became a hit despite its shabby treatment, allowing Leone to make ''Film/ForAFewDollarsMore'' without Jolly's help. That film's title was explicitly a TakeThat directed at Jolly Films.
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* TroubledProduction: Mostly due to Leone's Creator/SergioLeone's fractious relationship with Jolly Films, who gave the film a minuscule budget, assured Leone that legal issues over the ''Yojimbo'' ''Film/{{Yojimbo}}'' similarities had been cleared before shooting started ([[BlatantLies they hadn't]], resulting in a long, acrimonious lawsuit which delayed the movie's release) and fumbled its initial release, dumping it into second-run theaters and as the second feature on double bills. Creator/ClintEastwood remembers that midway through production, a Jolly executive visited the set to watch a day's shooting, then after viewing the rushes commented "Jesus, what a piece of shit!" to everyone within earshot. Eventually the movie became a hit despite its shabby treatment, allowing Leone to make ''Film/ForAFewDollarsMore'' without Jolly's help. That film's title was explicitly a TakeThat directed at Jolly Films.
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* WhatCouldHaveBeen: Originally, Creator/SergioLeone intended Creator/HenryFonda to play the "Man with No Name." However, the production company could not afford to employ a major Hollywood star. Next, Leone offered Creator/CharlesBronson the part. He, too, declined, arguing that the script was bad. Creator/JamesCoburn was offered the role, but he wanted too much money. Creator/LeeMarvin was also considered.
** Leone originally wanted to cast Mimmo Palmara as Ramon, as the two had worked together on ''The Colossus of Rhodes''. Palmara was cast in another Western, ''Guns Don't Argue'', instead and the then-lesser-known Gian Maria Volonte took the role.
** Leone asked for another ''Colossus'' alumnus, Angelo Francesco Lavagnino, to provide the music. Lavagnino was unavailable and so Jolly producers suggested Leone watch ''Gunfight at Red Sands'' and look up the composer. He wasn't impressed by th at movie's score, but was floored to learn that the composer was ''Music/EnnioMorricone'', who had attended school with Leone decades earlier!
** Leone originally wanted to cast Mimmo Palmara as Ramon, as the two had worked together on ''The Colossus of Rhodes''. Palmara was cast in another Western, ''Guns Don't Argue'', instead and the then-lesser-known Gian Maria Volonte took the role.
** Leone asked for another ''Colossus'' alumnus, Angelo Francesco Lavagnino, to provide the music. Lavagnino was unavailable and so Jolly producers suggested Leone watch ''Gunfight at Red Sands'' and look up the composer. He wasn't impressed by th at movie's score, but was floored to learn that the composer was ''Music/EnnioMorricone'', who had attended school with Leone decades earlier!
to:
* WhatCouldHaveBeen: Originally, Creator/SergioLeone intended Creator/HenryFonda to play the "Man with No Name." However, the production company could not afford to employ a major Hollywood star. Next, Leone offered Creator/CharlesBronson the part. He, too, declined, arguing that the script was bad. Creator/JamesCoburn was offered the role, but he wanted too much money. Creator/LeeMarvin was and Creator/CliffRobertson also considered.
** Leone originally wanted to cast Mimmo Palmara as Ramon, as the two had worked together on ''The Colossus of Rhodes''. Palmara was cast in another Western, ''Guns Don't Argue'', instead and the then-lesser-known Gian Maria Volonte took the role.
** Leone asked for another ''Colossus'' alumnus, Angelo Francesco Lavagnino, to provide the music. Lavagnino was unavailable and so Jolly producers suggested Leone watch ''Gunfight at Red Sands'' and look up the composer. He wasn't impressed by th at movie's score, but was floored to learn that the composer was ''Music/EnnioMorricone'', who had attended school with Leone decades earlier!considered.
** Leone originally wanted to cast Mimmo Palmara as Ramon, as the two had worked together on ''The Colossus of Rhodes''. Palmara was cast in another Western, ''Guns Don't Argue'', instead and the then-lesser-known Gian Maria Volonte took the role.
** Leone asked for another ''Colossus'' alumnus, Angelo Francesco Lavagnino, to provide the music. Lavagnino was unavailable and so Jolly producers suggested Leone watch ''Gunfight at Red Sands'' and look up the composer. He wasn't impressed by th at movie's score, but was floored to learn that the composer was ''Music/EnnioMorricone'', who had attended school with Leone decades earlier!
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* CreatorBacklash: Creator/EnnioMorricone felt this was his worst film score, since he was still developing as a composer and he recycled some of his earlier work (including an arrangement of Creator/WoodyGuthrie's "Pastures of Plenty" which he had worked on several years earlier, as the Main Title) for the soundtrack.
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* CreatorBacklash: Creator/EnnioMorricone Music/EnnioMorricone felt this was his worst film score, since he was still developing as a composer and he recycled some of his earlier work (including an arrangement of Creator/WoodyGuthrie's Music/WoodyGuthrie's "Pastures of Plenty" which he had worked on several years earlier, as the Main Title) for the soundtrack.
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** Leone asked for another ''Colossus'' alumnus, Angelo Francesco Lavagnino, to provide the music. Lavagnino was unavailable and so Jolly producers suggested Leone watch ''Gunfight at Red Sands'' and look up the composer. He wasn't impressed by th at movie's score, but was floored to learn that the composer was ''Creator/EnnioMorricone'', who had attended school with Leone decades earlier!
to:
** Leone asked for another ''Colossus'' alumnus, Angelo Francesco Lavagnino, to provide the music. Lavagnino was unavailable and so Jolly producers suggested Leone watch ''Gunfight at Red Sands'' and look up the composer. He wasn't impressed by th at movie's score, but was floored to learn that the composer was ''Creator/EnnioMorricone'', ''Music/EnnioMorricone'', who had attended school with Leone decades earlier!
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* CreatorBacklash: Creator/EnnioMorricone felt this was his worst film score, since he was still developing as a composer and he recycled some of his earlier work (including an arrangement of Creator/WoodyGuthrie's "Pastures of Plenty" which he had worked on several years earlier, as the Main Title) for the soundtrack.
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* WorkingTitle: ''The Magnificent Stranger''.
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** Leone originally wanted to cast Mimmo Palmara as Ramon, as the two had worked together on ''The Colossus of Rhodes''. Palmara was cast in another Western, ''Guns Don't Argue'', instead and the then-lesser-known Gian Maria Volonte took the role.
** Leone asked for another ''Colossus'' alumnus, Angelo Francesco Lavagnino, to provide the music. Lavagnino was unavailable and so Jolly producers suggested Leone watch ''Gunfight at Red Sands'' and look up the composer. He wasn't impressed by th at movie's score, but was floored to learn that the composer was ''Creator/EnnioMorricone'', who had attended school with Leone decades earlier!
* WorkingTitle: ''The Magnificent Stranger''. Some recently-discovered rushes disclose that the movie was called ''Ray the Magnificent'' on set.
** Leone asked for another ''Colossus'' alumnus, Angelo Francesco Lavagnino, to provide the music. Lavagnino was unavailable and so Jolly producers suggested Leone watch ''Gunfight at Red Sands'' and look up the composer. He wasn't impressed by th at movie's score, but was floored to learn that the composer was ''Creator/EnnioMorricone'', who had attended school with Leone decades earlier!
* WorkingTitle: ''The Magnificent Stranger''. Some recently-discovered rushes disclose that the movie was called ''Ray the Magnificent'' on set.
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* KeepCirculatingTheTapes: While the original English-language theatrical cut is available on DVD in the Netherlands, the PG-rated US theatrical cut hasn't been seen anywhere since Creator/TheCBSFoxCompany's rights reverted to MGM/UA in 1987. That said, videotapes and videodiscs of the US theatrical cut aren't all that uncommon. The same isn't really true for the UK theatrical cut, however; if you want that, you'll need either PAL video equipment or to live in a PAL country.
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* KeepCirculatingTheTapes: While the original English-language theatrical cut is available on DVD in the Netherlands, the PG-rated US theatrical cut hasn't been seen anywhere since Creator/TheCBSFoxCompany's the UsefulNotes/{{home video distribut|ors}}ion rights formerly held by the CBS/Fox Company reverted to MGM/UA in 1987. That said, videotapes and videodiscs of the US theatrical cut aren't all that uncommon. The same isn't really true for the UK theatrical cut, however; if you want that, you'll need either PAL video equipment or to live in a PAL country.
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** When Eastwood arrived on the set, he was struck by how little the Italian crew and writers knew about the American West they were filming about. For example, he had to point out that coonskin caps were worn by frontiersmen and trappers in the Davy Crockett era, circa the 1820s, not by gunfighters and townsmen in the American West and Mexico of the 1870s, as the scriptwriters had written.
* InternationalCoproduction: This was an Italian/German/Spanish co-production, so there was a significant language barrier on set. Leone did not speak English, and Eastwood communicated with the Italian cast and crew mostly through actor and stuntman Benito Stefanelli, who also acted as an uncredited interpreter for the production and would later appear in Leone's other pictures.
* LateExportForYou: The film was made in 1964, but wasn't released in America until 1967.
* LoopingLines: Similar to other Italian films shot at the time, all footage was filmed silent, and the dialogue and sound effects were dubbed over in post-production. Since all of the footage was filmed silently, Creator/ClintEastwood did not add his voice to the soundtrack until 1967, when the movie was prepared for U.S. release.
* LoopingLines: Similar to other Italian films shot at the time, all footage was filmed silent, and the dialogue and sound effects were dubbed over in post-production. Since all of the footage was filmed silently, Creator/ClintEastwood did not add his voice to the soundtrack until 1967, when the movie was prepared for U.S. release.
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* WhatCouldHaveBeen: Just look at the list of actors supposedly approached to be Joe: Creator/HenryFonda, Creator/JamesCoburn, Creator/CharlesBronson, Creator/LeeMarvin, Cliff Robertson, Steve Reeves (of the sword and sandal Hercules film craze) and the lesser-known Creator/RichardHarrison (who reportedly recommended Creator/ClintEastwood to [[Creator/SergioLeone Leone]]).
to:
* WhatCouldHaveBeen: Just look at the list of actors supposedly approached to be Joe: Creator/HenryFonda, Creator/JamesCoburn, Creator/CharlesBronson, Creator/LeeMarvin, Cliff Robertson, Steve Reeves (of the sword and sandal Hercules film craze) and the lesser-known Creator/RichardHarrison (who reportedly recommended VacationDearBoy: Creator/ClintEastwood said at the time:
-->I've never been to[[Creator/SergioLeone Leone]]).Italy. I've never been to Spain. I've never been to Germany. I've never been to any of the countries (co-producing) this film. The worst I can come out of this is a nice little trip. I'll go over there and learn some stuff. I'll see how other people make films in other countries.
* WagTheDirector: At first, Creator/ClintEastwood had some major disagreements with Creator/SergioLeone, particularly over the script which he found too verbose, but after convincing Leone to cut his dialogue to a minimum, the two men began to collaborate more productively.
* WhatCouldHaveBeen: Originally, Creator/SergioLeone intended Creator/HenryFonda to play the "Man with No Name." However, the production company could not afford to employ a major Hollywood star. Next, Leone offered Creator/CharlesBronson the part. He, too, declined, arguing that the script was bad. Creator/JamesCoburn was offered the role, but he wanted too much money. Creator/LeeMarvin was also considered.
-->I've never been to
* WagTheDirector: At first, Creator/ClintEastwood had some major disagreements with Creator/SergioLeone, particularly over the script which he found too verbose, but after convincing Leone to cut his dialogue to a minimum, the two men began to collaborate more productively.
* WhatCouldHaveBeen: Originally, Creator/SergioLeone intended Creator/HenryFonda to play the "Man with No Name." However, the production company could not afford to employ a major Hollywood star. Next, Leone offered Creator/CharlesBronson the part. He, too, declined, arguing that the script was bad. Creator/JamesCoburn was offered the role, but he wanted too much money. Creator/LeeMarvin was also considered.
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* LateExportForYou: The fact that it cribbed ''Yojimbo''[='=]s plot almost verbatim meant that Creator/AkiraKurosawa was able to successfully sue for copyright infringement. As a result, Kurosawa's production company obtained exclusive rights to release the film on Japan and the film took a whopping three years for its release to be allowed on the United States.
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* ScrewedByTheLawyers: The fact that it cribbed ''Yojimbo''[='=]s plot almost verbatim meant that Creator/AkiraKurosawa was able to successfully sue for copyright infringement. As a result, Kurosawa's production company obtained exclusive rights to release the film on Japan and the film [[LateExportForYou took a whopping three years for its release to be allowed on the United States.]]
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* TroubledProduction: Mostly due to Leone's fractious relationship with Jolly Films, who gave the film a miniscule budget, assured Leone that legal issues over the ''Yojimbo'' similarities had been cleared before shooting started ([[BlatantLies they hadn't]], resulting in a long, acrimonious lawsuit) and fumbled its initial release, dumping it into second-run theaters and as the second feature on double bills. Eventually the movie became a hit despite its shabby treatment, allowing Leone to make ''Film/ForAFewDollarsMore'' without Jolly's help. That film's title was explicitly a TakeThat directed at Jolly Films.
* WhatCouldHaveBeen: Just look at the list of actors supposedly approached to be Joe: Creator/HenryFonda, Creator/JamesCoburn, Creator/CharlesBronson, Creator/LeeMarvin, Steve Reeves (of the sword and sandal Hercules film craze) and the lesser-known Creator/RichardHarrison (who reportedly recommended Creator/ClintEastwood to [[Creator/SergioLeone Leone]]).
* WhatCouldHaveBeen: Just look at the list of actors supposedly approached to be Joe: Creator/HenryFonda, Creator/JamesCoburn, Creator/CharlesBronson, Creator/LeeMarvin, Steve Reeves (of the sword and sandal Hercules film craze) and the lesser-known Creator/RichardHarrison (who reportedly recommended Creator/ClintEastwood to [[Creator/SergioLeone Leone]]).
to:
* TroubledProduction: Mostly due to Leone's fractious relationship with Jolly Films, who gave the film a miniscule minuscule budget, assured Leone that legal issues over the ''Yojimbo'' similarities had been cleared before shooting started ([[BlatantLies they hadn't]], resulting in a long, acrimonious lawsuit) lawsuit which delayed the movie's release) and fumbled its initial release, dumping it into second-run theaters and as the second feature on double bills.bills. Creator/ClintEastwood remembers that midway through production, a Jolly executive visited the set to watch a day's shooting, then after viewing the rushes commented "Jesus, what a piece of shit!" to everyone within earshot. Eventually the movie became a hit despite its shabby treatment, allowing Leone to make ''Film/ForAFewDollarsMore'' without Jolly's help. That film's title was explicitly a TakeThat directed at Jolly Films.
* WhatCouldHaveBeen: Just look at the list of actors supposedly approached to be Joe: Creator/HenryFonda, Creator/JamesCoburn, Creator/CharlesBronson, Creator/LeeMarvin, Cliff Robertson, Steve Reeves (of the sword and sandal Hercules film craze) and the lesser-known Creator/RichardHarrison (who reportedly recommended Creator/ClintEastwood to [[Creator/SergioLeone Leone]]).
* WhatCouldHaveBeen: Just look at the list of actors supposedly approached to be Joe: Creator/HenryFonda, Creator/JamesCoburn, Creator/CharlesBronson, Creator/LeeMarvin, Cliff Robertson, Steve Reeves (of the sword and sandal Hercules film craze) and the lesser-known Creator/RichardHarrison (who reportedly recommended Creator/ClintEastwood to [[Creator/SergioLeone Leone]]).
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* DigitalDestruction: It's gotten to the point where the best version is a hodgepodge between the Italian Ripley's Blu-ray (complete image plus the original colors and the original Italian mono audio track, but a lossy original English mono audio track) and the American Kino Lorber Blu-ray (slightly cropped with excessive yellows, but more image than the MGM Blu-ray, and features the original English opening and closing titles plus a lossless original English mono audio track). While the Italian and German releases use a color scheme that hews closer to what was originally seen in theatres, they differ in image quality and the quality of the included original English mono track, with the German Blu-ray featuring a slightly inferior color scheme leaning a bit too closely towards red and the Italian Blu-ray having its original English mono track in a lossy format. The MGM Blu-ray is the worst of the lot, featuring a heavily-cropped image throughout, somewhat muddied colors, and an English mono track which is simply a fold-down from the 5.1 remix. The Kino Lorber Blu-ray, as mentioned before, leans heavily on the yellow side, but shows more image than the MGM Blu-ray (if slightly less than the Italian and German Blu-rays), and what it lacks in image quality, it more than makes up for by including the original English mono track in a lossless format, taken from an original 35mm/16mm print with an optical soundtrack.
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* TroubledProduction: Mostly due to Leone's fractious relationship with Jolly Films, who gave ''Fistful'' a miniscule budget, assured Leone that legal issues over the ''Yojimbo'' similarities had been cleared before shooting started ([[BlatantLies they hadn't]], resulting in a long, acrimonious lawsuit) and fumbled its initial release, dumping it into second-run theaters and as the second feature on double bills. Eventually the movie became a hit despite its shabby treatment, allowing Leone to make ''Film/ForAFewDollarsMore'' without Jolly's help. That film's title was explicitly a TakeThat directed at Jolly Films.
to:
* TroubledProduction: Mostly due to Leone's fractious relationship with Jolly Films, who gave ''Fistful'' the film a miniscule budget, assured Leone that legal issues over the ''Yojimbo'' similarities had been cleared before shooting started ([[BlatantLies they hadn't]], resulting in a long, acrimonious lawsuit) and fumbled its initial release, dumping it into second-run theaters and as the second feature on double bills. Eventually the movie became a hit despite its shabby treatment, allowing Leone to make ''Film/ForAFewDollarsMore'' without Jolly's help. That film's title was explicitly a TakeThat directed at Jolly Films.
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* ActingForTwo: Bernie Grant voices two of the three Rojo brothers, and they both interact with each other on a fairly regular basis onscreen. To a lesser extent, Grant also voices John Baxter, but he and Ramon only interact directly once—[[spoiler:when Ramon kills the corrupt Sheriff in cold blood]]. Likewise, Grant's wife Joyce Gordon voices both Marisol and Doña Consuelo Baxter, but the two never interact with each other, and the only scene in which they appear together has the former unconscious!
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* KeepCirculatingTheTapes: While the UK theatrical cut is available on DVD in the Netherlands, the PG-rated US theatrical cut hasn't been seen anywhere since Creator/TheCBSFoxCompany's rights reverted to MGM/UA in 1987. That said, videotapes and videodiscs of the US theatrical cut aren't all that uncommon.
to:
* KeepCirculatingTheTapes: While the UK original English-language theatrical cut is available on DVD in the Netherlands, the PG-rated US theatrical cut hasn't been seen anywhere since Creator/TheCBSFoxCompany's rights reverted to MGM/UA in 1987. That said, videotapes and videodiscs of the US theatrical cut aren't all that uncommon. The same isn't really true for the UK theatrical cut, however; if you want that, you'll need either PAL video equipment or to live in a PAL country.
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* RelationshipVoiceActor: Real-life husband-and-wife voiceover artists Bernie Grant and Joyce Gordon voice Ramon Rojo and his whore/hostage Marisol in the English dub.
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* RelationshipVoiceActor: Real-life husband-and-wife voiceover artists Bernie Grant and Joyce Gordon voice Ramon Rojo and his whore/hostage Marisol Marisol, and also in-universe husband and wife John and Consuelo Baxter, in the English dub.
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Added DiffLines:
* RelationshipVoiceActor: Real-life husband-and-wife voiceover artists Bernie Grant and Joyce Gordon voice Ramon Rojo and his whore/hostage Marisol in the English dub.
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* LateExportForYou: The fact that it cribbed ''Yojimbo'''s plot almost verbatim meant that Creator/AkiraKurosawa was able to successfully sue for copyright infringement. As a result, Kurosawa's production company obtained exclusive rights to release the film on Japan and the film took a whopping three years for its release to be allowed on the United States.
to:
* KeepCirculatingTheTapes: While the UK theatrical cut is available on DVD in the Netherlands, the PG-rated US theatrical cut hasn't been seen anywhere since Creator/TheCBSFoxCompany's rights reverted to MGM/UA in 1987. That said, videotapes and videodiscs of the US theatrical cut aren't all that uncommon.
* LateExportForYou: The fact that it cribbed''Yojimbo'''s ''Yojimbo''[='=]s plot almost verbatim meant that Creator/AkiraKurosawa was able to successfully sue for copyright infringement. As a result, Kurosawa's production company obtained exclusive rights to release the film on Japan and the film took a whopping three years for its release to be allowed on the United States.
* LateExportForYou: The fact that it cribbed
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* Defictionalization: Cimarron Arms now sells [[https://www.cimarron-firearms.com/uberti-man-with-no-name-single-action-45-colt-5-1-2-in-snake-inlay-rh-side.html replicas of Clint's revolver]] to buy. The gun first appeared in ''Series/{{Rawhide}}'', but the marketing specifically calls it "The Man With No Name" edition, and they also sell replicas of the iconic poncho, too.
to:
* Defictionalization: {{Defictionalization}}: Cimarron Arms now sells [[https://www.cimarron-firearms.com/uberti-man-with-no-name-single-action-45-colt-5-1-2-in-snake-inlay-rh-side.html replicas of Clint's revolver]] to buy. The gun first appeared in ''Series/{{Rawhide}}'', but the marketing specifically calls it "The Man With No Name" edition, and they also sell replicas of the iconic poncho, too.
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Added DiffLines:
* Defictionalization: Cimarron Arms now sells [[https://www.cimarron-firearms.com/uberti-man-with-no-name-single-action-45-colt-5-1-2-in-snake-inlay-rh-side.html replicas of Clint's revolver]] to buy. The gun first appeared in ''Series/{{Rawhide}}'', but the marketing specifically calls it "The Man With No Name" edition, and they also sell replicas of the iconic poncho, too.
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None
Changed line(s) 4 (click to see context) from:
* DigitalDestruction: It's gotten to the point where the best version is a hodgepodge between the Italian Ripley's Blu-ray (complete image plus the original colors and the original Italian mono audio track, but a lossy original English mono audio track) and the American Kino Lorber Blu-ray (slightly cropped with excessive yellows, but more image than the 20th Century Fox Blu-ray, and features the original English opening and closing titles plus a lossless original English mono audio track). While the Italian and German releases use a color scheme that hews closer to what was originally seen in theatres, they differ in image quality and the quality of the included original English mono track, with the German Blu-ray featuring a slightly inferior color scheme leaning a bit too closely towards red and the Italian Blu-ray having its original English mono track in a lossy format. The MGM Blu-ray is the worst of the lot, featuring a heavily-cropped image throughout, somewhat muddied colors, and an English mono track which is simply a fold-down from the 5.1 remix. The Kino Lorber Blu-ray, as mentioned before, leans heavily on the yellow side, but shows more image than the MGM Blu-ray (if slightly less than the Italian and German Blu-rays), and what it lacks in image quality, it more than makes up for by including the original English mono track in a lossless format, taken from an original 35mm/16mm print with an optical soundtrack.
to:
* DigitalDestruction: It's gotten to the point where the best version is a hodgepodge between the Italian Ripley's Blu-ray (complete image plus the original colors and the original Italian mono audio track, but a lossy original English mono audio track) and the American Kino Lorber Blu-ray (slightly cropped with excessive yellows, but more image than the 20th Century Fox MGM Blu-ray, and features the original English opening and closing titles plus a lossless original English mono audio track). While the Italian and German releases use a color scheme that hews closer to what was originally seen in theatres, they differ in image quality and the quality of the included original English mono track, with the German Blu-ray featuring a slightly inferior color scheme leaning a bit too closely towards red and the Italian Blu-ray having its original English mono track in a lossy format. The MGM Blu-ray is the worst of the lot, featuring a heavily-cropped image throughout, somewhat muddied colors, and an English mono track which is simply a fold-down from the 5.1 remix. The Kino Lorber Blu-ray, as mentioned before, leans heavily on the yellow side, but shows more image than the MGM Blu-ray (if slightly less than the Italian and German Blu-rays), and what it lacks in image quality, it more than makes up for by including the original English mono track in a lossless format, taken from an original 35mm/16mm print with an optical soundtrack.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* DigitalDestruction: It's gotten to the point where the best version is a hodgepodge between the Italian Ripley's Blu-ray (complete image plus the original colors and the original Italian mono audio track, but a lossy original English mono audio track) and the American Kino Lorber Blu-ray (slightly cropped with excessive yellows, but more image than the 20th Century Fox Blu-ray, and features the original English opening and closing titles plus a lossless original English mono audio track). While the Italian and German releases use a color scheme that hews closer to what was originally seen in theatres, they differ in image quality and the quality of the included original English mono track, with the German Blu-ray featuring a slightly inferior color scheme leaning a bit too closely towards red and the Italian Blu-ray having its original English mono track in a lossy format. The MGM Blu-ray is the worst of the lot, featuring a heavily-cropped image throughout, somewhat muddied colors, and an English mono track which is simply a fold-down from the 5.1 remix. The Kino Lorber Blu-ray, as mentioned before, leans heavily on the yellow side, but shows more image than the MGM Blu-ray (if slightly less than the Italian and German Blu-rays), and what it lacks in image quality, it more than makes up for by including the original English mono track in a lossless format, taken from an original 35mm/16mm print with an optical soundtrack.
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** Volonté tried to become friendly with Creator/ClintEastwood, but he spoke little English and Eastwood spoke little Italian. Their political differences prevented their striking up a rapport; Eastwood was a conservative Republican, while Volonté was a committed leftist .
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** Volonté tried to become friendly with Creator/ClintEastwood, but he spoke little English and Eastwood spoke little Italian. Their political differences further prevented their striking up a rapport; Eastwood was a conservative Republican, while Volonté was a committed leftist .leftist, and Eastwood in any case didn't know enough about Italian politics to respond.
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* DigitalDestruction: The 2014 restoration, made by a company allegedly jealous that they hadn't been chosen to remaster the film in 2007, is extremely heavy on the greens and yellows, not to mention that it looks cropped. What makes matters worse is that the 2007 restoration was already faithful to the director's intentions, thereby making this new restoration completely unnecessary. Even the Italian rightsholders acknowledged that they were baffled when they heard about it.
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* BreakthroughHit: For Creator/SergioLeone. His previous film was a sword-and-sandal picture called "The Colossus of Rhodes", which wasn't a hit critically or commercially.
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* BreakthroughHit: For Creator/SergioLeone. His previous film was a sword-and-sandal picture called "The ''The Colossus of Rhodes", Rhodes'', which wasn't a hit critically or commercially.
