Overview and Origins
Most of the early Spaghetti Westerns, such as the early works of Sergio Leone and Sergio Corbucci, dealt with some subtle political themes, particularly a criticism of Western capitalism and the "dollars" culture of America; however, as a general rule they were secondary to the main plot of the films in question during the early stage of the genre's development in the mid-'60s. However, in the late '60s a number of directors began to shoot Spaghetti Westerns as political allegories, often using the Western setting to mask (to an extent) the intended political outlook, in order to make them more acceptable (to some extent).
One of the first popular political Westerns, still highly regarded as one of the genre's best, was Sergio Sollima's 1966 film The Big Gundown, with Lee Van Cleef and Tomas Milian. The original screenplay had originally involved an Italian police detective, ordered to chase down a Communist revolutionary accused of raping and killing an industrialist's wife, only to find that the revolutionary had been framed by the industrialist - but he kills the revolutionary anyway. Sollima took the story line, transplanted it to 1880's Colorado, and changed the film's ending to a considerably happier one.
In the same year, Damiano Damiani released A Bullet for the General (also known as Quien Sabe?), with Gian Maria Volonté, Lou Castel, and Klaus Kinski, which dealt with an American agent of the Mexican government (Castel), during the Mexican Revolution of 1913, being hired to manipulate a bandit leader (Volonte) into helping him assassinate a revolutionary general. The movie made overt references to the ongoing Vietnam War, and Castel's character was meant to represent the CIA's interventions in Latin America. The movie was extremely popular in Europe, though butchered both for political and content reasons in overseas markets, and set the precedent for the development of the subgenre.
Read more about this topic: Zapata Western
Famous quotes containing the word origins:
“Grown onto every inch of plate, except
Where the hinges let it move, were living things,
Barnacles, mussels, water weeds—and one
Blue bit of polished glass, glued there by time:
The origins of art.”
—Howard Moss (b. 1922)