#volonteers

[365filmsbyauroranocte]

La classe operaia va in paradiso (Elio Petri, 1971)

[omercifulheaves]

The Dollars Trilogy Art by Tony Stella

[sigurism]

Gian Maria Volonté Per qualche dollaro in più (For a Few Dollars More) Dir: Sergio Leone

[englishotomegames]

Volontés by Adventures Inc. is now on Kickstarter!

"It is an era shrouded in darkness, where the world is sealed off, and a deadly plague ravages the land. A peaceful village is ruthlessly attacked by a knightly order, leaving your home destroyed and family murdered.

Saved by a mysterious figure, you're led to a magical city floating on the sea. There, the stranger proclaims you to be the Moon Witch, destined to guide the people to prosperity. But amidst your newfound safety and status, turmoil begins to brew. A sudden death sends shockwaves through the kingdom, friends turn on each other, alliances falter, and blades begin to clash. You yearn to end the cycle of tragedy and forge a lasting peace.

As tensions escalate, the time will soon come to decide whom to trust and which path to tread to witness the unfolding of your fate."

You can support the Kickstarter here!

[polaroidcats]

normal me should not be responsible for the things extroverted me signs up for

[namesisfortombstones]

Okay, we need to deal with this once and for all...

Why in the hell do people seem convinced that Clint Eastwood's character in the Dollars Trilogy are three different people? Like, who put that into their head and why are they listening to such lies?

So, because Gian Maria Volonte, Mario Brega, and Lee Van Cleef are all playing different characters, Clint has to be as well? That's an American mindset… and these are not American movies; that's not how acting and filmmaking are regarded overseas. For example, actor Michael Ripper appears in the Hammer horror films Dracula Has Risen from the Grave, Taste the Blood of Dracula, and Scars of Dracula as three completely separate characters. But that does not mean that Christopher Lee's Dracula are three different Draculas.

They also point to "the Man With No Name was made up by United Artists as a marketing ploy." Yes, they did, but that doesn't mean Clint still isn't the same man in all three films. You know what isn't a marketing ploy? The Italians referred to the character as "Il Straniero/The Stranger." That was their "man with no name" name back then in the 60s. The Italians have since adopted calling him "Uomo Senza Nome/Man Without Name."

And people seem to be convinced somehow that "Sergio Leone and Clint Eastwood both said he's three different people." No, they didn't. Never once has Clint made that claim. And Sergio Leone co-wrote all three films (and Once Upon a Time in the West--more there later) and he wrote him as the same man.

But the facts of the matter are there to see in the movies if you watch them. In For a Few Dollars More, the second film, il Straniero is referred to as "Manco." "Manco" in Italian means "mangled" and it refers to his hand being crushed by Chico (Mario Brega) near the end of A Fistful of Dollars. If you pay attention, you'll notice Manco does everything in that movie (play cards, karate chop, drink, etc.) left-handed… except shoot. He still shoots with his right hand. If you pay extra close attention, you'll see that the Man With No Name wears his poncho backwards… to hide the bullet holes shot into it by Ramon Rojo (Gian Maria Volonte) at the end of Fistful.

The Good, The Bad, and The Ugly is an origin story for the character, set during the Civil War before the previous two films. The movie literally has a plot point about how the Man With No Name got his poncho! It chronicles how the character changes from a selfish, dickish drifter to the more altruistic, caring person (as seen in the previous two films) after a near-death experience. Additionally, whilst the dialogue in the screenplay for the film only refers to Clint's character as "Il Biondo/Blondie," the descriptive passages of the script refer to him as "Joe," the nickname given him by Peripero in A Fistful of Dollars.

"But the Man With No Name has $100,000 in gold at the end of The Good, The Bad, and The Ugly. He has to be a different character because he's poor at the beginning of A Fistful of Dollars!" According to co-writer of For a Few Dollars More and The Good, The Bad, and The Ugly, Luciano Vincenzioni, he's poor again at the beginning of Fistful because he gave the $100,000 to Father Ramirez's mission for saving his life. Now, why would he have that answer if they're all different people? Why wouldn't he have said "Oh, they're not the same man," when asked?

On top of that, Once Upon a Time in the West was originally meant to be the final adventure for il Straniero/Joe/Manco/Blondie/the Man With No Name. This gets complicated, so saddle in.

After The Good, The Bad, and The Ugly, Sergio Leone didn't want to do another western. He wanted to make Once Upon a Time in America, even way back then. But Paramount Pictures told him "We'll make America with you… but you have to give us another western first." So he set about on his fourth western. The script he and his writers (Sergio Donati, Bernardo Bertolucci, and Dario Argento) concocted revealed that everything Il Straniero did in the previous movies was all sort of a training for a revenge duel with Frank (presumably because Frank did to him what he did to Harmonica in the finished film). This is why it would have been such a shocking moment for the audience when Frank asks who the Man With No Name is and he responds "Dave Jenkins." The audience would've gasped, thinking "That's his name?!" before discovering it's just one of Frank's victims. The problem is that on the set of The Good, The Bad, and The Ugly, Eastwood and Leone had a huge fight that nobody seems to talk about often. I've heard that it was Eastwood finally having enough of the lackadaisical manner in which Italians made movies and I've heard it was Leone finally having enough of Eastwood cheating on his wife with his interpreter. Whatever the subject of the fight was, it is what ruined/ended the relationship between Leone and Eastwood. When it came time to make Once Upon a Time in the West, Leone flew to California to personally deliver the script to Eastwood, but Clint would not meet with him (I've also read an interview with Lee Van Cleef where he revealed he was offered the role of Frank when it was set to star Eastwood, but turned it down because he didn't like the script. And he apparently didn't like the finished film when he saw it either). So with his main star gone and still having to deliver the film to Paramount, Leone returned to Italy with his writers and was forced to turn Il Straniero/etc into the new character Harmonica and go from there (and finally managed to cast Charles Bronson in the role). Leone later came up with an idea to have the three gunmen at the beginning of the film be cameos by Eastwood, Van Cleef, and Eli Wallach (though, they were never meant to be the Man With No Name, Angel Eyes, and Tuco--just three randos like in the finished film). It was both a gag and a storytelling device to show the audience, "You thought these guys were bad/cool… Harmonica's even worse/better!" Wallach was in for it. Eastwood was having none of it and Van Cleef turned it down too. For what it's worth, Leone continued to try to work with Clint; he wanted him for the James Coburn character in Duck, You Sucker, but Eastwood wouldn't do it either.

So, whether you call him Joe, Manco, Blondie, the Man With No Name, or The Stranger, they are all the same man in all three films. Unfortunately, the lie that he's not has spread way further than it ever should have.

[cinnamontoastensketches]

Volo-nteer Community Service - Prologue: Part 1

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[sewerfight]

M/Don Gaetano fancam

[dare-g]

Investigation of a Citizen Above Suspicion (1970)

[dm3mol-1]

I hope netflix doesn't cancel one piece live action because

I NEED

the cast recreating this

[possible-streetwear]

DERNIERE VOLONTE

[365filmsbyauroranocte]

La classe operaia va in paradiso (Elio Petri, 1971)

[affiches-cinema]

Per un pugno di dollari, Clint Eastwood, Gian Maria Volonte, 1961.

[sigurism]

Gian Maria Volonté Le cercle rouge Dir: Jean-Pierre Melville

[raisongardee]

"La destinée de l’humanité est un mystère profond, qui a reçu deux explications contraires : celle du catholicisme et celle de la philosophie. L’ensemble de chacune de ces explications constitue une civilisation complète. Entre ces deux civilisations il y a un abîme insondable, un antagonisme absolu […] La civilisation catholique enseigne que la nature de l’homme est malade et déchue, déchue et atteinte dans son essence et dans tous les éléments qui la constituent. Dans son infirmité, l’entendement humain ne peut inventer la vérité ni la découvrir ; mais il la voit quand on la lui présente. De même, dans son infirmité, la volonté ne peut vouloir le bien ni le faire si elle n’est aidée, et elle ne peut l’être que si elle est sujette et réprimée. Les choses étant ainsi, il est clair que la liberté de discussion conduit nécessairement à l’erreur, comme la liberté d’action conduit nécessairement au mal."

Juan Donoso Cortès, Lettre à Montalembert, 1849.

[omercifulheaves]

For A Few Dollars More (1965)