The distinction between the classic 1940s/50s American Western and the Spaghetti Western is a topic that has come up often in discussions here, so I decided to make this post comparing them since no one has made one yet. In my opinion, they’re completely different - so much so that they might as well be separate genres, given how vastly different their appeal is. I created this table comparing them, as I believe this is the easiest way to highlight their differences. These are, of course, generalizations, but that was necessary to compare entire genres/eras.
American Western (1940s/50s)
Spaghetti Western (1960s)
Grounded main characters - often lawmen or men who fight for justice on the side of the law
Larger-than-life, mysterious, and stylish characters - often bounty hunters or people driven by revenge or financial gain
Themes of law and order, male duty, moral righteousness and good vs. evil
Themes of revenge, personal justice, corruption, moral ambiguity, and economic greed
Optimistic stories about noble heroes with a clear moral conclusion to the story
Cynical stories about anti-heroes that act in self-interest
Audience roots for the protagonist because they are righteous
Audience roots for the protagonist because they are cool
Action sequences are sanitized and restrained
Action sequences are violent, operatic, and highly stylized
Dialogue-driven storytelling with frequent, and often largely insignificant, conversations
Visual storytelling with minimal dialogue but when dialogue is used, it’s always meaningful and important
Romanticizes the Western frontier as a place worth saving
Depicts the West as a harsh, lawless and hopelessly corrupt place that isn’t worth saving
Generally maintains a serious and grounded tone
Has a playful, exaggerated, and uniquely Spaghetti Western tone
May contain a duel but not always. If it does, this would typically occur at the film’s climax near the end of the film.
Duels are always present, more over-the-top, more frequent and may occur at any point during the film.
Shootouts occur only when essential to the story, often not before the second half of the film
Filled with lots of shootouts from beginning to end – sometimes simply for style and spectacle
Realistic performances
Theatrical Performances
Clean aesthetic
Dirty aesthetic
Conventional Camerawork
Unique Camerawork that juxtaposes wide shots with extreme closeups
Set primarily in the United States (except for films about the Mexican Revolution)
Often blends U.S. and Mexican settings and aesthetics
Uses traditional orchestral soundtracks
Has a distinctive and unconventional Spaghetti Western music style
Slow-paced and drawn out
Fast-paced and straight to the point
Simplistic characters and clear-cut, black-and-white morality
Complex characters and moral ambiguity
As one can see, they are polar opposites in most ways. Let me know if I missed anything!
When done poorly, for sure… but Leone and Corbucci executed it masterfully. That shootout in the ruined, abandoned town in The Good, the Bad and the Ugly, with bombs falling all around, was pure style - completely unnecessary for the plot, yet an incredible set piece. Leone and Corbucci’s films have body counts four times higher than what the story actually requires, and they each had a distinct and unique way of crafting action sequences. Their films are far more action-packed and exciting than the American Westerns of the 1950s, and that’s definitely to their advantage.
Also, it’s good to keep in mind that the SW is a much smaller genre than the 50s American western, so it will naturally have less notable directors. With the 50s american western there was also a clear line drawn between the “A-Westerns” which were higher budget and supposedly more artistically significant and the “B-Westerns” which were low budget rushed generic films. With SWs there wasn’t that distinction, even though the genre has a large volume of quickly made low budget films.
I though really like several partly slow paced SWs also, if they are well executed with a nice mood and suitable atmospheric music, but when I watched the American high rated western “Shane” last year the slow pacing was more boring for me. A slow SW sometimes can be very entertaining with all the other typical atmospheric ingridients than the story itself, like early in Requiem for a Gringo when the antihero returns to his home or likewise the beginning of Vengeance For Veangence even if action soon starts.
I also doubt anyone sees John Wayne’s character in The Searchers as a hero, and I wouldn’t describe Sturges’ 50s westerns as drawn-out at all. As I said - generalizations.
That said, the slowness of Once Upon a Time in the West is very different from the slowness of 50s American westerns. The latter are slow because of countless drawn-out, meaningless conversations that are nothing more than filler. OUATITW, on the other hand, is slow with purpose - to build atmosphere and allow for a more detailed story.
OUATITW is also Leone’s answer to the American western. His only western where he was influenced by American Westerns, particularly High Noon and Shane.
The “influence” of American Westerns is all over the Dollars films. Movies like Vera Cruz, Johnny Guitar, The Man Who Shot Liberty Valance, The Naked Spur etc etc
The “influence” of American Westerns is all over the Dollars films. Movies like Vera Cruz, Johnny Guitar, The Man Who Shot Liberty Valance, The Naked Spur etc etc
I’ve seen all of those films except Johnny Guitar, and I don’t agree. Can you point to any specific elements or scenes where you think these films influenced Leone? Because I just don’t see it.
I think American Westerns inspired Sergio Leone more than they influenced him, and I believe that’s an important distinction. He was undoubtedly a fan of American Westerns, and that is likely what inspired him to make Westerns of his own. But what he created was something entirely different - often the polar opposite of the American Westerns you mentioned. He didn’t care for making a film that belonged to their genre, he used the old west setting to tell his own stories with his own distinct style and depiction of the west. The only real similarities are the Old West setting, the presence of duels and a few surface-level aesthetic elements.
What makes spaghetti westerns so great is the fact that they are filmed in Almeria Spain etc yet you forget about the familiar American landscapes due to the brilliant characters and scenarios. The close up direction and using fantastic locals with great facial characteristics as part of the cast.
I do love watching westerns from 50s with Scott, Murphy, The Duke, Cooper etc especially ones with the stunning landscapes incorporated although lots are filmed in the Californian Lone Pine studios which Almeria is quite similar.
I agree with what you’re saying but I also believe that he was hugely influenced by American Westerns but in his own unique way. Many true artists absorb influences in ways that can be hard to pinpoint but there is some obvious examples I believe - how he made AFoD as a remake of Yojimbo - one of his favorite American westerns was John Sturges Magnificent Seven, which was a remake of Seven Samurai. Eli Wallach would never exist as Tuco if it wasn’t for his role in that film. Angel Eyes wouldn’t exist as we know him if it wasn’t for Lee Van Cleef’s roles in Ride Lonesome or High Noon. He interpreted these movies in his own way, watching them more as art or silent movies rather than a Hollywood Action / Adventure films. He had an amazing eye for detail and imagination, I believe he thrived on everything that was going on below the surface, everything from a certain look on someones face to a bleak shot of a window, a door, everything unexpressed and untold. It was all about the story he made out of it and the myth of the west.
I actually prefer the Almería filming locations over the American ones. They have more heart and are more aesthetically pleasing to me. The Almería desert feels like a better fit for the style of Spaghetti Westerns too - it’s infinitely more desolate and barren than the American deserts, which suits the cartoonishly exaggerated depiction of the West that SWs were going for. I like both though, and one of the things I always enjoy in 50s american westerns is the filming locations and sets, even in the boring films like those directed by Mann.
There’s no evidence that Magnificent Seven was one of his favorite westerns AFAIK but tbf from all the 50s American western directors Sturges is definitely the closest to his style. On the casting I agree, but that influenced the actors they chose, not the style or story told.
I agree, but this falls under inspiration rather than influence. He saw these films and was inspired to tell stories set in a similar world - but as he saw and interpreted it, with his own style. However, I don’t believe they influenced his style and the stories he told. I’d say Connery’s Bond and silent films were a much greater influence than any of the 40s/50s/early 60s american westerns.
I haven’t managed to visit Almeria yet but hope do do it soon, im going to Rome in May and looking forward to visiting Cinecittà Studios hopefully there is some western displays there.
I’m planning to visit myself next year on my motorcycle - riding from Sicily all the way to Almeria, with a few stops in the outskirts of Rome to check out some filming locations there as well, especially the locations used for Django and The Mercenary. Should be fun.
I don’t think there’s anything left in the studio, but I could be wrong.
Let us know what you find You might also wanna check out the filming locations in the outskirts if you’re willing to catch a train or taxi or something to see them. From what I can understand, they’re not too far away from rome.
You might also wanna check out the filming locations in the outskirts if you’re willing to catch a train or taxi or something to see them. From what I can understand, they’re not too far away from rome.