Love stories in spaghettis?

What is an interesting difference between the films by Leone and the films by Corbucci, is that the latter one often had love themes in his SWs.

A doomed relationship between the hero and a woman is a classic motif in many of Corbucci’s spaghetti westerns.

Just think of Django or The Great Silence. By contrast Leone’s main characters seldom revealed much emotion, what if The man with no name had been involved in love stories? Would that have been interesting or just not fitting, what do you think?

What more SWs are there featuring love stories?

The character THE MAN WITH NO NAME is driven by the pursuit of financial gain, but ultimately he is a good guy, this makes him the archetypal anti-hero.

Well I wanted to bring this discussion up in the cut discussions of the dollar films. As can be seen on the specials of the special editions there were scenes shot with Eastood and girls. MAybe he wanted it to be in the script to get some european chicks 8)
But seriously, I think it is better for the man with no name to be too cool for women. He could have them all(as clearly seen in fafdm where the hotel lady adores him) but is just too cool to care about women. I heard that for those reasons(and especially the role of women in once upon a time in AMERICA) it was argued that leone did not have a good view on women, or even had hatred for women.
I dont think so, he just gives them not that much of an importance in the dollar films. This changes of course with once upon a time in the west.
So for me relations with women dont fit in the mood with the dollar films. I felt like the whole relationship thing in great silence takes away some of the atmosphere of silence. A bit too fast for love, especially after her husband is killed. Maybe it would have been better without it.

I think love is essential for ‘The Great Silence’. It is what makes it possible to kill Silence in the end. Mythically, in the beginning of the movie Silence is an avenging angel. His only goal in life is revenge on the bounty hunters and as such he is dehumanized. Just watch his appearance like a ghost out of the mist in the snow, with the crows flying. Death itself has arrived. His ability with a gun is matched by no man alive as even Loco confirms. Love makes him human again and as he begins to live anew he becomes vulnerable and therefore he can and will be killed. See ‘Leon’ by Luc Besson for an almost similar storyline. As a rule men on a mission are their mission. They are defined by their deeds. In the Dollar trilogy Clint is only interested in money and there would have been no dramatic reason to introduce a woman except to kill him off or to have a traditional happy end, which would have been totally out of place. And by the way we all know that Clint is the ultimate male. We don’t have to see him with a girl to get that affirmed. Even James Bond only sleeps with women as part of his job. He is a professional! The moment he falls in love the poor woman is doomed. (‘Casino Royale’ and ‘On her Majesty’s Secret Service’) As he has another job to do in the next movie!

Anyway, that’s what I think but I could be mistaken.

even in Companeros Tomas Milian loves the girl

In political spaghettis the mexican characters are always the more human and thus more emotional. In stark contrast to the gringos who are only motivated by money (Kowalski in ‘Il Mercenario’) or their mission (Tate in ‘A Bullet for the General’ ). Both yankees don’t even sleep with the girls that are offered them. Now that’s dedication or is it something else, like ‘complications’ :wink: ?

Almost every sw has a love story…LOVE OF MONEY! :o

That’s right. ‘$10.000 cuts an awful lot of family ties.’

Corbucci had a lot of women in his spaghettis.

There is also some sort of relationship/attraction between Nicoletta Machiavelli and Burt Reynolds in Navajo Joe.

In Sonny & Jed Tomas Milian and Susan George share a love/hate relationship in a humorous way.

My problem with the love stuff in most spaghettis(and especially Corbucci´s one) is how fast they fall in love. It is a bit too “macho” for me. In great silence she just lost her husband right?! And also in companeros she was never that interested in Milan. I mean i dont want love/chick flick styles, but in my eyes love needs a bit longer. This is better done in viva django/preparati la barra where the revenge for his loved wife is the motive.
If the source of the love isnt explained i have some bigger problems, especially if this love is the main motvation, like in cemetery without crosses. I didnt like this one that much, because i didnt understand why he loved her. well some spaghettis need the love stories, but in my eyes they shouldnt be the center of the story.

I think there isn’t enough time to establish a ‘realistic’ love relationship in a regular spaghetti as they are rarely longer than 90-100 min and with all shooting/chasing/fighting which must be done (thank God!). Besides how realistic would it be? Spaghettiwestern heroes are the ultimate alpha males! It is impossible to resist them! Am I right ladies :wink:

There’s the THE FURY OF JOHNNY KID, that’s pretty much Romeo & Juliet and an excellent Italian western. Just hope the Koch DVD materialises with that ending in tact. :slight_smile:

I’m looking forward to getting that one. I do have a very good widescreen Spanish language version but would like to see it in Italian. BTW…what do you mean about “that ending intact”? Is the Italian version different in some way? ???

The Spanish print is missing the ending where death finishes off the victims of the massacre at the end. I haven’t seen that ending myself but it’s described in a few sources including the Glittering Images Western All Italiana, Vol 2.

That reminds me, i still need to get the third book.

Thanks for clearing that one up. Now i just hope that when it’s released that this ending is intact!

Love stories in SWs is mostly annoying imo. But in the Corbucci movies it’s ok with me. They aren’t cheesy.

I don’t know, in Companeros I actually think it was subtly suggested since the beginning, when Milian is with his men bragging about his new role as the general’s lieutenant and you see the girl looking at him from a distance. Same goes for when Milian cuts her hair, he’s taking it personally there, lol. The way I see it, they always liked each other, but Milian had to “grow up” in order for the romance to happen. In the beginning he’s more like a kid who pulls the hair of the girl he likes.

I tend to see the relationship in the Great Silence more like a hurt/comfort thing rather than a “OMG TRUE LOVE!” one. It’s the meeting of two outcasts who bond over their solitude and ease each other’s pain (gosh I’m getting lyrical here). It’s a budding romance but um, we know how it ends. Anyway I find it beautifully played, in spite of it happening in a short timespan.

[quote=“poggy, post:18, topic:505”]I tend to see the relationship in the Great Silence more like a hurt/comfort thing rather than a “OMG TRUE LOVE!” one. It’s the meeting of two outcasts who bond over their solitude and ease each other’s pain (gosh I’m getting lyrical here). It’s a budding romance but um, we know how it ends. Anyway I find it beautifully played, in spite of it happening in a short timespan.[/quote]I agree, that’s how I always saw their relationship. I like the love making scene in Great Silence. It’s very beautiful scene but at the same time there’s certain sadness in it.

The ultimate ‘rebound’ on her part. I think we have all been there at some point, that’s why I can relate a lot to their relationsship. Kind of comes full circle when she dies as well. What could Corbucci have done, have her character see her husband and her rebound lover die in front of her as well? Come to think about it, that is equally as grim.