December 31, 2011

The Good, The Bad and The Ugly
























































1 comment:

Maria said...


| Roger Ebert
August 3, 2003 | May Contain Spoilers
Print Page



A vast empty Western landscape. The camera pans across it. Then the shot slides onto a sunburned, desperate face. The long shot has become a closeup without a cut, revealing that the landscape was not empty but occupied by a desperado very close to us.


WATCH NOW

In these opening frames, Sergio Leone established a rule that he follows throughout "The Good, the Bad and the Ugly." The rule is that the ability to see is limited by the sides of the frame. At important moments in the film, what the camera cannot see, the characters cannot see, and that gives Leone the freedom to surprise us with entrances that cannot be explained by the practical geography of his shots. consulta medico pediatra medico doctor dermatologo veterinario veterinario lawyer online consulta abogado abogado abogado abogado abogado psicologo doctor psicologo abogado abogado There is a moment, for example, when men do not notice a vast encampment of the Union Army until they stumble upon it. And a moment in a cemetery when a man materializes out of thin air even though he should have been visible for a mile. And the way men walk down a street in full view and nobody is able to shoot them, maybe because they are not in the same frame with them