::: C. M. Huard
Labels and the problem of defining the good. ::: Click here to read the full text.
I don't really get into that because GBU has been fairly exhaustively discussed from that point of view by the Serious Critics. Its attitudes are fairly standard issue for a left-leaning, European director of the period like Leone: anti-war, anti-oppression-of-the-underclass, skeptical about the heroic ideals of the past, that kind of thing.
There are directors in this genre whose social interests are of such importance to them and their art that one *must* approach them from that angle (Sergio Sollima, who made a few westerns in Leone's wake, is one example). But such films run the risk of ceasing to be a "living language" that can appeal to viewers of different generations. I don't think GBU is such a film, so I don't tend to see much point in trying to frame it "historically" so to speak.
I thought this article was interesting, but am curious what C.M.'s thoughts are on the film's social commentary. Basically, what does The Good, The Bad and the Ugly say about the time in which it was made?
I'm just starting to get into the genre of westerns, and find what they say about the time of their creation, fascinating. So, I'd like to hear your thoughts
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