The winner couple Leone/Morricone (whose music as usual has the capacity to underline and describe the state of mind of the characters and give a strong feeling to the viewers) strikes again in this brilliant movie, that closes the ‘Dollar Trilogy’, full of suspense and pathos right to the end.

As it has been shown, in these ten movies (except for ‘The day of the Jackal’ and ‘Clockwork Orange’) it has always been found for everybody – not because of my mental straining, but objectively, a transcendent trend which went through the mystic, or the supernatural terror springing from Horror. Yet, I don’t see anything different, not even in this movie. Sergio Leone’s skill in humanising so much the characters of the Western, distancing himself from the American movie school that up until then had always wanted very clear Manichaean distinctions, with slight nuances that left space to breathtaking landscapes, to the attacks to the stagecoaches and shootings, leads to powerful manifestations of a new charisma that almost touches the transcendent.

It’s probably because of the Mexican cemetery, of the skeleton in the casket (next to the grave without name of the loot) that appears musically accompanied by the usual sheer cry, of the irritating chorus of Ennio Morricone's music ‘so close, so far to seem’ like part of ‘that landscape’ or voices from the past as those that call Preacher (always Clint Eastwood) from the bottom of the valley in ‘Pale Rider’… it’s probably because of this ending that I see/feel something mystic in this movie and in its epilogue…

…maybe, in this case, it’s really my subjective straining. Who knows?

But, setting aside all this, I love the genre invented by Sergio Leone and a lot of what has followed.