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: Morton and the water picture  ( 21944 )
Juan Miranda
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« #30 : October 15, 2006, 06:01:39 PM »

fact that Claudia has a similar function in two different films by different directors seems no more than an interesting coincidence.

I guess what I'm trying to say, given the enormous success and critical reputation of OTTO E MEZZO at that time, is that they used the imigary as an hommage. Or just plain stole it...


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« #31 : October 16, 2006, 08:58:17 AM »

Or rather, SL, needing an female aquarian figure, turned over in his mind possible actresses, and, remembering 8 1/2, thought, Claudia! Of course! She's already played such a role!



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« #32 : October 17, 2006, 11:58:08 AM »

Likely Sergio thought she had nice rack.

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« #33 : October 17, 2006, 03:16:18 PM »

 :o;D


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« #34 : October 11, 2011, 01:01:49 PM »

Quote from Dave Jenkins, from GBU forum:

Re-reading it, I see I talked myself around to the belief that Leone established a simple opposition between Salt Water (death) and Sweetwater (life). It's an idea that to me still seems to have merit.


Very interesting idea, the opposition of Salt Water (death) and Sweetwater (life). I agree with you that the film is not only about death but also about life, and water is the symbol for life. Morton wants to reach the water of the Pacific, but he fails. Jill talks about it and reaches the bath and survives. But to me the opposite of the water in the film is the desert. I think the film plays not only in the wild west but also in a desert without water. The opening scene is station in a dessert, the McBain farm is in a half dessert and so on. The picture of Jill in the carriage in the Monument Valley is a big picture because only she manages to pass this dessert. One theme of the film is the fight for Sweetwater, you can see it from the commercial point of view, but also as the fight for the water of the life.


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« #35 : October 11, 2011, 02:33:24 PM »

Harmonica is the character least associated with water (one could even speak of his "arid" nature), and he of course has something to do with death. On those rare moments when he gets close to water (the well scene, the bath scene) he uses those occasions to shoot men dead. So there are three categories of people: the Good (Jill, sweetwater), the Bad (Morton and Wobbles, who have a perverse association with water), and The Dead (Harmonica, the man of the desert). I'm not sure where Frank fits. Cheyenne, with his constant references to coffee, is probably (at least partly) in category 1.

« : October 11, 2011, 02:35:56 PM dave jenkins »


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« #36 : October 12, 2011, 12:51:19 PM »


Very enlighting and lucid, your three categories. I agree absolute. Moreover: Wobbles in the scene with Harmonica is not beaten but WASHED, but without result. His only and final reaction is: I don't know. I swear. He is neither willing nor able to understand. And he is a traitor, because he has water, but he went to the other side. Frank is to me Category 2, I think for Leone he as a bad guy is out of discussion. For Cheyenne there is (as usual by Leon) a very small scene at the end. Just before the final showdown, Cheyenne goes to the McBain farm house, to “shave”, but he – by the way, and this is the trick of Leone – washes his face twice. And to make emphasis on this, he looks into the camera. This is the final statement of Leone of the relationship of Cheyenne to water. Jill gets her big bath, and even Cheyenne get his small face washing. They are both standing on the “right side” of the water.

And Harmonica is out of discussion a category of his own. Even the actor Charles Bronson is singular. Even after a long second line actor carrier it was Leone, who fought for him as a star of his film. And not be chance. Charles Bronson, naturally Charles Buchinsky, 11th child of 15 of a poor Lithuanian immigrant family (imagine his childhood) is Tatar descent. Another proof that Leones dislikes the western civilisation.

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« #37 : October 13, 2011, 09:53:27 AM »

For Cheyenne there is (as usual by Leon) a very small scene at the end. Just before the final showdown, Cheyenne goes to the McBain farm house, to “shave”, but he – by the way, and this is the trick of Leone – washes his face twice. And to make emphasis on this, he looks into the camera. This is the final statement of Leone of the relationship of Cheyenne to water. Jill gets her big bath, and even Cheyenne get his small face washing. They are both standing on the “right side” of the water.
Excellent points.



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« #38 : July 23, 2017, 12:17:54 AM »

The acting really stood out in this scene for me.  I can really feel Morton's desperation to experience what he desires so much.

This may sound like an odd comparison, but I recently lost a friend in a car accident. I'd never lost someone like that before. I've had grandparent's die, but I saw my friend almost every day, and all of a sudden he was gone.  He was also my close work partner and manager.  When I'm at work, I often imagine hearing his voice when I'm reminded about him.  When I see pictures of him, I'm filled with such desperation to see him again.  It kind of reminded me of the way Morton looks at his painting and could hear the water.  It feels very similar to me to see that scene and also deal with this loss. 

SL truly knew how to make you feel the full extent of the emotion of his characters. 


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