Deploy Folding Table of contents
Sergio Leone came remarkably close to creating a flawless masterpiece, but there is a minor error that stands out.
The Journey of Clint Eastwood’s Stardom
Back in 1966, Clint Eastwood found himself in a challenging phase of his career. His recent films, A Fistful of Dollars and For a Few Dollars More, had yet to be released in the United States. Simultaneously, his television series Rawhide (known in Spain as Látigo or Cuero Crudo) had concluded after 217 episodes. Despite the lack of work and relative obscurity in his homeland, Eastwood faced a tough choice regarding Sergio Leone’s offer to star in The Good, the Bad and the Ugly. Ultimately, he accepted the role for a sum of $250,000 along with a 10% share of the box office profits. This decision left Leone frustrated, effectively ending their collaboration.
Filming in a Dictatorship: A Historical Context
While we are all aware that The Good, the Bad and the Ugly was filmed in Almería, Spain, many tend to overlook that the country was under the grip of a dictatorship at that time. One might wonder how such a project was allowed to proceed. Eastwood himself encapsulated it succinctly by stating that authorities were primarily concerned about whether the story depicted Spaniards and Spain: if it was a western set in the southern United States or Mexico, they couldn’t have cared less. This leniency explains why you can now stumble upon the Sad Hill Cemetery in such an unexpected location.
A Surprisingly Incongruous Cameo
Interestingly enough, a Spanish individual made an unforgettable cameo in the film—one that probably didn’t amuse Leone in the slightest. If you pause The Good, the Bad and the Ugly at the two-hour and 28-minute mark, you will notice a Spanish car zooming by on the right side of Eastwood. The occupant of that vehicle likely found himself wondering what those film cameras were doing in Almería. Remarkably, this slip made it to the final cut, although it requires a keen eye to spot.
The Aftermath of Collaboration
Despite the tensions between Leone and Eastwood, the director wished to work together again. He traveled to America to personally hand Eastwood the script for Once Upon a Time in the West, but the actor turned it down, and the role ultimately went to Charles Bronson. In a later interview, Leone would describe Eastwood’s acting style as “like a block of marble.” The chemistry between actors and directors can be complex, much like the narratives portrayed in westerns, reminding us that even amidst disagreements, there is a shared passion for storytelling in the Old West.
