Once Upon a Time in America (Sergio Leone)

Both of them fall under the FILM-MANIA umbrella for me—though I’ve gotta say... Once Upon a Time in America is definitely the stronger cut.

I honestly find myself at a loss for words when trying to praise this film... it has firmly established itself as one of my absolute favorites. I’ve sat through it more times than I care to admit, yet I know I could watch it again tomorrow and never feel bored for a single second.
It is quite fascinating to observe the character dynamics here; Charles Bronson plays the hero, which was such a departure from his usual persona as the heavy or the villain. This particular role really propelled him into superstardom. On the other hand, you have Henry Fonda, who is essentially the eternal good guy of American cinema, playing the antagonist this time around.

Man, all those looks they give each other 🙏 🙏 🙏

Honestly, you can't even tell which one of those four is the best.

Trying to compare some uninspired, brainless Tarantino wannabe who’s begging YouTube commenters for movie ideas featuring Leone
is just pointless. It simply makes no sense.

This easily lands in my top 5 Henry fund movies of all time. Those blue eyes... what a killer role for him:
Claudia: absolute knockout:
Best conducted soundtrack ever, hands down.
Definitely Leone's best work—just a notch ahead of for a dollar more.

Casey Cox2 said:This easily lands in my top 5 Henry fund movies of all time. Those blue eyes... what a killer role for him:
Claudia: absolute knockout:
Best conducted soundtrack ever, hands down.
Definitely Leone's best work—just a notch ahead of for a dollar more.

totally ☕

Casey Cox2 said:This easily lands in my top 5 Henry fund movies of all time. Those blue eyes... what a killer role for him:
Claudia: absolute knockout:
Best conducted soundtrack ever, hands down.
Definitely Leone's best work—just a notch ahead of for a dollar more.

It’s subjective. One person thinks this is the peak, someone else swears by America, and another might just think it's "okay, meh, or a shame." Either way, I only watched "Once upon" once. It was so powerful that there's really no need for a rewatch.

I feel like I need to bring this up again... it's weird to me that there isn't more discussion about this cinematic masterpiece. Just caught it on PBS, and honestly, it's pure FILM-MANIA. I saw it once maybe ten years ago, but I figured I'd give it another look today, and I don't regret it. Hard to say what hits harder—the acting, the atmosphere, those incredible landscape shots—but the thing that really gets me is that motherfucking MUSIC. That feeling where you're just humming the melody all day long. A total Leone masterpiece from start to finish. The tension during that final showdown between Bronson and the Henry fund, those stares, the silence, then just 🙏 🙏 🙏
You can't stay indifferent to it... it's impossible...👍

Exactly. It’s easily the greatest Western ever made. Everything about this film is flawless, though I have to admit the score is almost untouchable for me.



The best part is how one of the biggest good guys is actually one of the finest villains ever put on screen. Leone really nailed it. 🙏

People always say a perfect movie doesn't exi... Oh, wait.

It’s good, it’s bad... honestly, it’s just a tiny bit better than the other one, but still, I mean, this is a total masterpiece

I don't know, I actually found this one to be better based on what he told me. Especially since you're kept completely in the dark regarding the protagonist's true motivation until practically the very last scene—the final duel. That's simply a must-have element of genius right there. On top of that, the cinematography and the acting are on another level; even the duels feel more impactful.

I'm pretty exhausted, but honestly, just watching movies isn't the same thing as true cinematography.

OT, Morricone is a god.

Phenomenal movie, and the soundtrack is just as good.

I guess I personally prefer the Dollars Trilogy more.

vivideagle7 said:I'm pretty exhausted, but honestly, just watching movies isn't the same thing as true cinematography.

OT, Morricone is a god.

It strikes me as odd that nobody else has figured this out yet.

It’s a solid film, just like every other Leone masterpiece. Nowadays, we seem to be drowning in Westerns that look pretty enough—decent cinematography, sure—but the acting is usually pretty subpar. Not this one, though.

I think I actually lean toward Peckinpah much more than Leone.

For me, the soundtrack was always the main event in that film. It works brilliantly as a standalone album—something you can just put on and enjoy—but when it’s layered over the movie, it feels incredibly overbearing. Take that famous, lighthearted theme when Claudia Cardinale gets off the train and wanders around waiting for her husband. It feels completely out of sync—just totally misplaced—much like several other scenes. And, well, as with pretty much any Leone film, the acting tends to be a bit over the top, though I suppose it works for the genre. My take? The music is frankly pretentious as a cinematic element, even if it's great when you listen to it solo. That seems to be the case with most Morricone work, really.

vivideagle7 said:I'm pretty exhausted, but honestly, just watching movies isn't the same thing as true cinematography.

OT, Morricone is a god.

Morricone is a god on Earth! 😁

Karen Smith9 said:For me, the soundtrack was always the main event in that film. It works brilliantly as a standalone album—something you can just put on and enjoy—but when it’s layered over the movie, it feels incredibly overbearing. Take that famous, lighthearted theme when Claudia Cardinale gets off the train and wanders around waiting for her husband. It feels completely out of sync—just totally misplaced—much like several other scenes. And, well, as with pretty much any Leone film, the acting tends to be a bit over the top, though I suppose it works for the genre. My take? The music is frankly pretentious as a cinematic element, even if it's great when you listen to it solo. That seems to be the case with most Morricone work, really.

The thing is, modern audiences are so used to that kind of high-tech, sterile sound, so they might struggle with this. That’s why I see this film as art on multiple levels. The music isn't necessarily "too much"; rather, it sits right on that razor's edge of parody without ever actually crossing it, because the themes themselves are either breathtakingly beautiful, genuinely haunting, funny, or just plain tragic.
Every single character is given their own specific theme, and honestly, this movie simply wouldn't function without that score.

Claudia Cardinale has a theme that immediately communicates her femininity, her character, and sort of her tragic fate. That melody is also tied into the essence of the Wild West and the landscapes themselves. In a way, the music bridges her connection to the surroundings in such a positive light. The intro might feel a bit Italianate (beautiful regardless), but once the other instruments and the female vocals kick in, everything just clicks into place. I will admit, though, the theme during the finale might be a bit too dramatic.


Jason Robards was given this cool, effortless little theme that fits his character perfectly. He felt a bit like the Lucky Luke of the film. The music tells you right away that he isn't the villain, even if he arguably plays one.


Charles Bronson has a harmonica theme that weaves together with an electric guitar and an orchestral section reminiscent of a Henry Fonda score. In other words, through a single musical thread, the fates of two characters are linked—characters who become karmically inseparable through their shared evil. The harmonica lends Bronson a sense of mystery, since we aren't quite sure who he is or why he's there; the electric guitar hints at the darkness and brutality associated with Fonda; and the orchestral elements act as the glue binding their stories together.


Morton, who many viewers perceive as being purely negative, actually receives a small but incredibly moving theme. It doesn't reflect the outward wrongdoings he committed out of ignorance, but rather his inner self (which, let's face it, defines all the characters here). Through it, we see a nostalgic dreamer clinging to a vision he wants to live, but never will—whether because someone kills him or simply because he's too ill.


Looking back from today's perspective, whether it's the perceived sterility or the campiness, some might find parts of this film misplaced. However, the fact remains that this is the pinnacle of drama, executed in its most moving, artistic, and brilliant form in cinema history. It is, quite simply, a Western musical that actually works.

Samuel Scott54 said:I guess I personally prefer the Dollars Trilogy more.

Nah, I disagree—the first one is basically just a remake of Yojimbo.