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In 1964, director Sergio Leone revolutionized the Western genre, along with composer Ennio Morricone, who

redefined what a film score could be.

This is the soundtrack show. Oh, The The The Oh, Benvenutia Soundtrack Show, Mikkiano David W Collins, and this episode is part of a series that looks at the

soundtracks of three spaghetti Westerns by director Sergio Leone.

Per a Punio di Doolari, or in English, a fistful of dollars from 1964 per quail

deolaro in pieu for a few dollars more in 1965 and finally

el bono the brutto el kativo or the good Buono, the Bruto, the Cativo, or The Good, the Bad, and the Ugly from 1966.

I will spare you the accented readings from now on.

All starring a younger and relatively unknown Clint Eastwood with three revolutionary film scores by Italian composer Ennio Morricone. These are the first three films known as the man with no name trilogy of one of cinema.

These are the first three films known as the man Man with No Name trilogy, of one of cinema's most

important director-composer collaborations, Lioni and Morricone respectively.

And when they were released, especially in America in 1967, they were huge hits.

They helped redefine and reinvigorate a stale, almost dying genre in film, The Western. And they did it with a cool irony, a strong sense of

style, a dash of humor, and a ton of machismo and violence on the screen.

And the music was a massive departure from the melodies and sounds of Westerns from the past.

Compare this. The with this. Or this? Oh, with this. Oh, oh, oh, oh, oh, oh, oh,

oh, oh, oh, oh, oh,

Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, I mean what are we listening to what are these films how did they come about why are

they so revolutionary I mean after all the music to the good the bad and the ugly has been so famous for so many decades

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