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1:21:11
And Ramón looks at him,
a slightly enigmatic look.

1:21:13
Would he have done that?
1:21:16
Was the brother right to do that?
1:21:18
In any normal morality he wasn't right,
1:21:21
but in the strange morality of Leone's
film that's an interesting moment.

1:21:25
Ramón doesn't quite approve
of what his brother's done.

1:21:30
The view from the coffin as we go out.
The whole movie is a view from a coffin,

1:21:35
in a sense, this town of death, this town
of widows, of cemeteries and bell-ringers.

1:21:40
No priest, and a corrupt sheriff.
1:21:42
It's the view from the coffin.
1:21:45
And here's Eastwood in a mine shaft,
rehearsing his gun hand

1:21:49
for the final showdown.
1:21:56
With a piece of metal
that's been cut out of...

1:22:01
I don't know, a railcar,
or a boiler, or whatever it is.

1:22:05
But it's gonna turn into a suit of armour,
like the armour in the Rojo residence.

1:22:12
With the "Deguello" theme,
but this time not played on the trumpet.

1:22:17
More orchestral version.
1:22:19
A Mexican funeral lament,
because that's what's gonna happen.

1:22:29
When I first saw this I couldn't
work out what was going on.

1:22:32
Nothing tells you it's a mineshaft, nothing
tells you what's going on, why this metal.

1:22:38
It's part of Leone's
intriguing form of cinema.

1:22:41
By the time you've worked
it out it's too late anyway.

1:22:44
They're onto the next action sequence.
1:22:47
Syncopating the bangs with the music
again. It's sort of justified music.

1:22:53
There'll be a lot of music
in Leone's films justified by action.

1:22:56
A chiming watch in For A Few Dollars
More, whistling in Duck You Sucker,


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