Ahh, that, but there is works very well.
Is this the last scene where the Sean, Sean was played? It is an interesting idea to view his friend as Sean, but I still have trouble to see the intent.
And then the Sean, Sean theme is played throughout the film, and is mainly associated with Coburn.
Yes, Spags are not much interested in emotions.
And when, then actors like PLL or Mr. Stiffen are completely unable to play the emotions. 
Apart from the reinstated final flashback, yes.
That actually makes a lot of sense. I’ve always assumed that Coburn’s friend was Sean, because of the way he muffles his words when he first meets Juan, it seems like something from his past is getting to him at that exact moment, and of course the music. What didn’t make sense was when (I think) I read/heard that it was Carla Leone who came up with the idea for the vocals not Morricone or Sergio, but I think that’s the most probable explanation I’ve read. I’m not certain about Dynamite, but the music for OUATIW and OUATIA were composed prior to filming so it was probably the same case here.
I’ve also just realised I haven’t watched this one for about 6 years, I’ll have to try and correct that sometime this week.
I always just assumed that Coburn’s name was Sean in Ireland and John when he left. Sean is Irish for John, John is English for Sean. It’s essentially the same name. Juan of course is Spanish for John so make of that what you like.
Yes thats what I thought.
So the song should be “Sean, John, Sean”, no. 
Good point about the name “Juan” - I can’t believe I never noticed that connection!
Well, everything happens in threes…
Isn’t that mentioned directly in the film, that John/Juan thing? Doesn’t Steiger talk about that to Coburn?
Well, in most books I have Coburn is credited as Sean Mallory, only in the De Fornari book he is named as John-Sean Mallory.
I think the credits of Giu la testa have him too as Sean?
Oh yeh! Early on, something like “I am Juan and you are John”. Ok - so I clearly haven’t watched it in a very long time! 
I think it might also be that no-one ever lined up Sean/John/Juan all together. In my head I’d always put Sean/John together and John/Juan together and yet never all three… weird.
Check my previous post, I added something.
I know I’m the odd man out, but to me, it’s the best Spaghetti Western ever (I’ve seen quite a few). Even though I concede that from a technical point of view (cinematogaphy and editing) it might be inferior to OUTITW and GBU, I just can’t but admire the character development, the moral stance, the political message, but most of all - it’s just damn emotionally moving. In fact, last time I watched it I burst into tears. And even though I definitely agree this is a film that requires repeated viewings, I fell in love with it the very first time I saw it.
Well maybe that’s just my strange taste 'cause one of my other favorites is another non-standard From Noon Till Three (check this out if you still haven’t - I don’t know whether you’ll like it or not, but you’ve definitely never seen THIS Charles Bronson before).
yes, that’s strange …
doesn’t mean I dislike “the usual stuff” though, including even Zapata Westerns “Duck, You Sucker” was theoretically meant to oppose.
and the primary reason I liked From Noon Till Three was not Bronson or Ireland (as good as they were) but the idea of myth COMPLETELY overtaking reality to the point of destroying it. a thorough deconstruction of the myth-making process - and this in a film that contains almost no violence.
Not that strange IMO. My top 5 SWs are all of Leone’s. DYS comes in third, just after GBU, with OUATITW being at the top.
I was only referring to From Noon Till 3 as being one’s favourite western, or at least one of them. An interesting idea, but I don’t care much for what the film did with the premise. But maybe it only needs a re-watch.
Well, Giu la testa is not one of my 5 favourite Spags, not even one of my 5 favourite Leone westerns, when you understand what I mean. (you’re the expert).
But it is one of my favourite 20 Spagies though.
And I can understand when people love it, but it has its flaws for me, especially the final is not well directed (nor is the other big action scene).
Giu la testa is definitely in my top 30 at least. But unfortunately I see it as a great opportunity slightly wasted. 
From Noon Till Three is a very dry film with Bronson on a different mode for sure, and yes I like it !
Watched this for the first time in over half a decade last night an it was a lot better than I’d remembered. It’s still definitely Leone’s weakest western; it’s not as good as some Zapata’s that it’s clearly trying to mimic in some ways which comes off as a bit shoddy, it’s over-long in parts and isn’t as rhythmic as Leone’s others all were, but it did have more rhythm than I’d remembered. I also enjoyed Rod Steiger a lot more than the previous viewings and even though he does over-act at times I don’t think he was miscast (even though I probably still would’ve preferred Wallach, whether he’d have played Tuco again or not). I think it’s a great testament to how good Leone really was, if this was his weakest effort by some margin, there’s no doubt he’s the best.