1:18:01
who became the producer of his second
and one or two of his subsequent films.
1:18:06
This sequence was the second
one that was shot by Franco Giraldi,
1:18:10
assistant director,
who shot the Río Bravo canyon.
1:18:13
The burning of the Baxter
house was shot by Giraldi,
1:18:17
with the cutaways done by Leone.
1:18:20
And the editor, Roberto Cinquini,
pieced it together from little pieces of film
1:18:26
with the close-ups
and the reflection of the flames,
1:18:29
in order to construct this extraordinary
scene of the baddies roaring with laughter
1:18:34
as they massacre the Baxter clan.
1:18:37
More sadism,
and it goes on, and it goes on.
1:18:40
A lot was cut from the British print,
though it got an X certificate.
1:18:44
The censor couldn't take it.
The enjoyment, the massacre.
1:18:48
The fact that it's so protracted.
1:18:50
So Cinquini does the editing, and
Franco Giraldi does the shooting for this,
1:18:56
while Leone was busy with Eastwood.
1:19:03
You often get in Leone's films someone
peering through a letterbox-shaped space.
1:19:09
The image is letterboxed,
the Techniscope frame,
1:19:12
but you get someone peering,
like Eastwood.
1:19:15
So his view is framed,
1:19:17
like the Techniscope frame
this movie is gonna be projected in.
1:19:21
Rather like Rod Steiger
in Giù La Testa, in Duck You Sucker,
1:19:25
tearing a poster and seeing
a slat between the wood
1:19:28
and looking through at a firing squad.
1:19:33
It's a reminder of the artificiality of the
frame, but he loves the letterbox frame,
1:19:38
and the way in which that frame
can be filled to push on the action.