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Spaghetti Westerns (pia: Western ya Kiitalia) ni jina la kutaja aina ya filamu za Western zilizotolewa na studio za kiitalia kuanzia miaka ya 1960.
Awali lilikuwa jina la utani tu kutok‰Æ’ë—p’E–ÑŠíana na chakula cha Kiitalia cha spaghetti lakini mtindo ulipendwa baadaye na watu wengi.
Filamu halisi za huko zilikuwa zinayahoorekodiwa kwa lugha ya kiitalia na zilikuwa zitumia bajeti ndogo tu.
Mara nyingi zilicheza na ujumbe wa mawestern ya Marekani na kubadilisha tabia za vielezo vya western kama vile cowboy, sheriff, mjambazi na wengine.
Pia zilionyesha wazi matƒvƒ‰ƒZƒ“ƒ^ ŒûƒRƒ~endo ya kishenzi, ujeuri n.k. yaliyofichwa zaidi katika western za Marekani.
Ni hasa mwongozaji Sergio Leone aliyeanzisha aina hii ya Western.
Sergio Leone was an Italian film di_“ÞìƒNƒŠƒjƒbƒNrector, producer and screenwriter most associated with the "Spaghetti Western" genre.
Born in Rome, Leone was the son of the cinema pioneer Vincenzo Leone (known as director Roberto Roberti or Leone Roberto Roberti) and the silent film actress Edvige Valcarenghi (Bice Waleran).
During his schooldays, Leone was a classÂ` ƒ‰ƒ“ƒLƒ“ƒOmate of his later musical collaborator Ennio Morricone for a time.
After watching his father work on film sets, Leone began his own career in the film industry at the age of 18 after dropping out of law studies at the university.
Leone began writing screenplays duriFXng the 1950s, primarily for the 'sword and sandal' (a.k.a. 'peplum') historical epics, popular at the time. He also worked as an assistant director on several large-scale international productions shot at the Cinecitta Studios in Rome, notably Quo Vadis (1951) and Ben-Hur (1959) financially backed by the American studios.
When director Mario Bonnard fell ill during the produƒŒ[ƒVƒbƒNction of the 1959 Italian epic, The Last Days of Pompeii (Gli Ultimi Giorni di Pompei), starring Steve Reeves, Leone was asked to step in and complete the film. As a result, when the time came to make his solo directorial debut with The Colossus of Rhodes (Il Colosso di Rodi, 1961), Leone was well-equipped to produce low-budget films which looked like larger budget Hollywood movies.
In the early 1960s, historical epics fell out of favor with audiences, but Leone had shifted his attention to a sub-genre which came to be known as the "Spaghetti Western" owing its origin to the American Western.
The look of A Fistful of Dollars was establishFX ”äŠred by its Spanish locations, which presented a violent and morally complex vision of the American Old West.
The film paid tribute to traditional American western movies, but significantly departed from them in storyline, plot, characterization and mood.
The characters were also morally ambiguˆç–ÑÜ ŒûƒRƒ~ous by appearing generously compassionate, or nakedly and brutally self-serving, as the situation demanded.
Some critics have noted the irony of an Italian director who could not speak English, and had never even seen the American Old West, almost single-handedly redefining the typical vision of the American cowboy.
Leone's next two films ? For a Few Dol‰ƒ‰ïlars More (1965) and The Good, the Bad and the Ugly (1966) ? completed what has come to be known as the Man with No Name trilogy (a.k.a. the Dollars Trilogy), with each film being more financially successful and more technically accomplished than its predecessor.
The films featured innovative music scores by Ennio Morricone, who worked closely with Leone in devising the themes.
Leone had a personal way of shooting sce–³“Y‰Á ‰»Ï•ines with Morricone's music ongoing.
Based on the success of The Man with No Name trilogy, Leone was invited to the United States in 1967 to direct Once Upon a Time in the West (C'Era una Volta il West) for Paramount Pictures.
The film was shot mostly in Almeria, Spain and Cinecitta in Rome.
It was also briefly shot in Monument ValFX ‰SŽÒley, Utah. The film starred Charles Bronson, Henry Fonda, Jason Robards and Claudia Cardinale.
Once Upon a Time in the West emerged as a long, violent, dreamlike meditation upon the mythology of the American Old West, with many stylistic references to iconic western films.
Nevertheless, it was a huge hit in EurWeb§ìope, grossing nearly three times its $5 million budget among French audiences, and highly praised amongst North American film students.
It has come to be regarded by many as Leone's best film.
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