Meet Sergio Leone(3): Once Upon a Time in the West

After the immense success of the Dollars Trilogy, Sergio Leone took a bold step forward with Once Upon a Time in the West (1968). Moving beyond the gritty anti-heroes and morally ambiguous tales that had become his trademarks, Leone crafted a grand, operatic Western that delved into the mythic and tragic dimensions of the American frontier. Once Upon a Time in the West not only redefined the Western genre but also solidified Leone’s status as a visionary filmmaker, capable of blending epic storytelling with profound thematic exploration.

Once Upon a Time in the West marked a significant departure from Leone’s earlier works. While the Dollars Trilogy focused on individual characters navigating a lawless, morally grey world, this film embraced a more expansive narrative, both in terms of scope and emotional depth. Leone shifted from the personal to the mythic, creating a story that was as much about the transformation of the American West as it was about the characters themselves.

The film is set in a time of transition, as the railroad expands across the continent, symbolizing the inevitable march of progress and the death of the old West. This setting allows Leone to explore themes of change, loss, and the clash between old and new ways of life. The characters in Once Upon a Time in the West are not merely players in a story but embodiments of larger forces at work—revenge, greed, and the relentless passage of time.

The characters in Once Upon a Time in the West are some of the most richly drawn in Leone’s filmography, each representing a different aspect of the dying West.

• Harmonica (Charles Bronson): The mysterious figure known only as Harmonica is the film’s central enigma. Driven by a deep, personal vendetta, Harmonica is a man of few words but immense presence. His character is the embodiment of vengeance, carrying with him the weight of past traumas. Charles Bronson’s stoic performance, combined with Leone’s skillful use of close-ups, gives Harmonica an almost mythic quality.
• Frank (Henry Fonda): Perhaps the most shocking casting choice in the film is Henry Fonda as Frank, the ruthless, cold-blooded villain. Known for his roles as virtuous heroes, Fonda’s turn as Frank subverted audience expectations. Leone deliberately cast Fonda to play against type, using his iconic blue eyes to create a chilling contrast between the actor’s familiar face and the character’s malevolent actions. Frank represents the merciless force of progress, willing to do anything to secure his place in the new order.
• Jill McBain (Claudia Cardinale): Unlike the typical Western heroine, Jill McBain is a complex, fully realized character who plays a central role in the narrative. A former prostitute turned widow, Jill is a symbol of resilience and adaptability, representing the survival of the human spirit in the face of adversity. Claudia Cardinale’s performance brings warmth, strength, and vulnerability to the character, making her the emotional core of the film.
• Cheyenne (Jason Robards): Cheyenne, a bandit with a heart of gold, is the most morally ambiguous character in the film. Though initially introduced as a dangerous outlaw, Cheyenne’s loyalty and sense of justice become evident as the story progresses. Jason Robards infuses Cheyenne with a rough charm and a tragic sense of inevitability, making him one of Leone’s most memorable creations.

Once Upon a Time in the West is a film steeped in themes of change, death, and the relentless march of progress. The encroachment of the railroad serves as a metaphor for the industrialization and modernization that would eventually erase the frontier way of life. The film’s characters, each in their own way, are relics of a bygone era, struggling to find their place in a world that is moving on without them.

Leone also explores the idea of myth-making, both in the context of the American West and within the film itself. Once Upon a Time in the West is a story about stories—the myths we tell ourselves about heroes, villains, and the land they inhabit. By deliberately referencing and subverting Western tropes, Leone invites the audience to reconsider the genre’s traditional narratives and to see the West as a place of both legend and harsh reality.

Leone’s technical mastery is on full display in Once Upon a Time in the West. The film’s widescreen cinematography, captured by the legendary Tonino Delli Colli, is nothing short of breathtaking. Leone makes full use of the expansive landscapes, framing his characters against vast deserts and towering mountains, emphasizing their smallness in the face of nature and destiny.

The pacing of the film is deliberately slow, allowing the tension to build gradually. Leone’s use of long takes, silence, and close-ups creates a sense of anticipation that is almost palpable. The film’s opening sequence, a nearly wordless ten-minute standoff at a train station, is a masterclass in building suspense through visual storytelling.

Ennio Morricone’s score is another key element of the film’s brilliance. Each main character is associated with a distinct musical theme, enhancing their presence and emotional impact. Morricone’s music, with its blend of haunting melodies and unconventional sounds, elevates the film to an operatic level, turning the narrative into a symphony of emotions and motifs.

Once Upon a Time in the West is more than just a Western; it is a profound meditation on the end of an era and the myths that arise from it. Sergio Leone’s departure from the more straightforward narratives of his earlier films allowed him to create a work of epic scale and emotional depth, one that resonates with audiences long after the credits roll. With its richly drawn characters, thematic complexity, and technical brilliance, Once Upon a Time in the West stands as a towering achievement in cinema, redefining the Western genre and cementing Leone’s place as one of the greatest filmmakers of all time.