I left my nephew and his kids and braved a thunderstorm to see A FISTFULL OF DOLLARS (Sergio Leone, 1964) at the Cinema Moderne last night. It was a sold-out screening. I was put on a waiting list but did manage to get in, probably thanks to the rain. Everyone applauded at the end. I liked it very much. But I don’t understand its current status as one of the great masterpieces of the cinema. Influential, without question. Historically significant, of course; amongst other things, it made Clint Eastwood a star, and one can definitely understand why watching it. But Kurosawa’s YOJIMBO (1961), which borrowed its structure from American Westerns and of which this is a remake, is funnier, deeper, more complex and with characters that  convey something about people, ways of life, structures of feeling. Watching A FISTFULL OF DOLLARS is a somewhat dislocating experience, the dubbed language, the Spanish landscape standing in for the West but so different from it, everything a trope, a witty take on a cliché, a referent to something else. It’s all fun with surfaces, an evocation of a certain kind of mid-sixties cool, and épater de older generation aimed at the younger one: the shooting at the kid at the beginning, the close-ups of an extremely handsome Eastwood doing his poses. It might be seen as an early postmodern film. I loved the music, the shot of the horse galloping and the poetic raising of the dust, the intriguing compositions and uses of perspective and point of view. I do think Leone is an extraordinary visual filmmaker. And this is a very fun film; but to praise it as anything more seems to me a lack of discernment. This was particularly brought to mind through the presence of Margarita Lozano, who plays Consuelo Baxter, and who was also played the maid in VIRIDIANA, and thinking of both films in relation to art. Perhaps I should re-read Christopher Frayling and figure out exactly what I’m missing, if anything

José Arroyo