Per un pugno di dollari

It's interesting that they're using these
bodies as if they were puppets, or decoys,

because Leone claimed that
one of the inspirations for his Westerns,

particularly Fistful of Dollars,
was puppet theatre.

Particularly the Sicilian puppets
called the Pupi Siciliani,

rather like Punch and Judy in England, or
other puppet traditions all over the world.

They were large, metal puppets
which were operated by rods from above,

which enacted stories from
the middle ages. The Song of Roland.

Orlando and his magic steed
and his magic spear and his sidekick,

who would fight the Moors
in a re-enactment of medieval battles.

Puppeteers would go round Sicily,
perform these stories,

but adapt them to the locality.
They'd find out who's the local mayor,
the chemist, the bank manager,

and those characters would appear
in this traditional mythological setting.

And Leone said when he made his first
Western, he was doing exactly the same.

He took the Hollywood Western,
and in the case of Fistful of Dollars,
two Westerns he was very fond of:

Shane, with Alan Ladd, made by George
Stevens, and Edward Dmytryk's Warlock,

a complicated Western
made in the 1950s with Henry Fonda.

He was taking those two films, reworking
them in this Italian and Spanish context,

and doing exactly
as the Sicilian puppeteers did.

Take the puppet show, take the Western
as a given, adapt it to the local culture.

And there are the two puppets sitting
there, lying against the gravestone.

West German actor playing Baxter,
conversing with Spanish actor
playing his wife Consuelo.

And officials and sheriffs
and bank managers and bank tellers