:40:02
is in fact not based on Yojimbo,
but it's loosely based on passages
:40:07
in Dashiell Hammett's Red Harvest,
:40:09
a detective novel written
about the Continental Operative,
:40:13
who was a private investigator, which has
a very similar story to Fistful of Dollars,
:40:18
and Yojimbo,
and The Servant of Two Masters.
:40:21
That whole idea of two clans fighting,
:40:23
and someone sets them
against each other.
:40:25
But the detective element
of this part of the movie
:40:28
has a kind of Dashiell
Hammett feeling to it.
:40:31
Leone claimed he'd brought
Hammett together with Yojimbo,
:40:35
and taken the Japanese story home again,
when he adapted it into Fistful of Dollars.
:40:40
Eastwood is about to try
and find where the gold is hidden,
:40:43
and he does it not by thoughtfulness.
:40:48
Sanjuro in Yojimbo is a very thoughtful
character, who sits back and reflects a lot.
:40:52
The Eastwood character doesn't do that.
:40:55
Action is character in this film.
:40:58
Nevertheless, he's trying to work
out where the gold must be buried,
:41:02
by exploring the stores
in the Rojo residence.
:41:15
Soundtrack design
is another distinctive feature.
:41:19
Not only the music, but the way
in which natural sounds are amplified.
:41:24
In Italy, everything was postsynchronised.
:41:26
There wasn't a tradition
of shooting direct sound.
:41:29
So you have a guide track
when you're making the film,
:41:32
but when you go into dubbing
you do what you like.
:41:35
You can construct
all the layers of sound.
:41:38
Fellini had done it, Pasolini
was to do it, Visconti had done it.
:41:42
All the greats in Italian cinema
used sound design.
:41:45
Leone said that sound
was 40 per cent of a movie.
:41:48
So what you get is, say, a gunshot
followed by a horse whinnying,
:41:52
followed by silence.
It's all constructed that way,
:41:55
in order that the soundtrack should also
contribute to the tension in the audience.