Film
The Dollars Trilogy
Japan
Near mint minus; originally rolled (as issued)
Sergio Leone
Claudio Scarchilli, Clint Eastwood, Eli Wallach, Gian Maria Volonte, John Bartha, Klaus Kinski, Lee Van Cleef, Livio Lorenzon, Luigi Pistilli, Marianne Koch, Rada Rassimov
2024
Japan B1 / (29" x 41") / Single Sided
“I’m looking for the owner of that horse. He’s tall, blonde, he smokes a cigar, and he’s a pig !”
Sergio Leone’s “The Dollars Trilogy” is lauded (rightly so) as the greatest spaghetti westerns ever made with any paper from the films extremely sought after which makes this incredibly scarce 2024 Japanese film festival release a real find. Not only very rare it arguably boasts one of the best images of Eastwood from any of his movie posters as ‘Blondie’ – the man with no name is the ultimate spaghetti western Eastwood poster; impressive with a capital I. An extremely limited release with a very small print run these posters are a truly collectible ‘modern’ piece of Eastwood/western movie memorabilia. This Japanese B1 one-sheet is offered unrestored, rolled (as issued) and presented in excellent condition…A truly great eye-catching item of cinema memorabilia from the “man with no name” trilogy…“There are two kinds of spurs, my friend. Those that come in by the door; those that come in by the window”
Trivia: Clint Eastwood wore the same poncho through all three “Man with No Name” movies without replacement or cleaning.
…more detailVintage Movie Posters Grading Criteria... read more +
“The Dollars Trilogy, the 2024 Japanese triple-bill release “A Fistful of Dollars”), the classic 1964 Sergio Leone spaghetti western and “Introducing the man with no name!’ This man with no name is played by Clint Eastwood. “For a Few Dollars More” the classic 1965 sequel “The man with no name is back! The man in black is waiting…” and in 1966 “The Good, the Bad and the Ugly” – “For Three Men The Civil War Wasn’t Hell. It Was Practice!”; starring Clint Eastwood (in the title role as The Good), Lee Van Cleef (in the title role as The Bad) and Eli Wallach (in the title role as The Ugly).
When watching a film years after its influence has ingrained itself into not only cinema but society as whole, it can be difficult to differentiate what aspects stand the test of time and what were merely blocks for greater works to build upon. “A Fistful of Dollars” is no different. Its influence is unquestionable but its flaws are also glaringly apparent. The camera work is fantastic and the consistent wide shots transport the viewer into the setting. The score is also great, it matches the feelings of the film nicely. Clint Eastwood does an amazing job playing his character. His portrayal of the (now-classic) nonchalant vigilante is as good as anyone else has done it since. The narrative leaves a bit to be desired but gets better as it goes on. The dubbing is, by modern standards, awful. It is a product of the times and makes it frustrating to watch at times. I can imagine falling in love with this movie if I’d seen it when it came out but that wasn’t possible for me. All of the cliches would’ve been something to see for the first time in context.
Many consider “For a Few Dollars More” the most perfectly realised of Leone’s trilogy, though I prefer the grander sweep of “The Good The Bad and The Ugly”. This is the best film in the series to start with, though, being slightly more polished than “A Fistful Of Dollars”, and it’s easier to follow as a template of the Leone style.
Contrary to popular critical opinion, this is definitely not a ‘revisionist’ western. What Leone has done has stripped the traditional western story down to its essential elements and flipped it. Basically, this is an ordinary western saga seen through a distorted (or clearer, depending on your viewpoint) lens. All westerns were generally made with the same characteristics, that is, a good guy and a bad guy. The good guy was simple: a lawman or rancher protecting something. The bad guy was usually the more interesting one. Leone made the so called ‘good guy’ more interesting, and more vicious than the villain. The story becomes the mirror image of the American Western, reflected from the deserts of Spain.
Eastwood, despite the dispute of others, is “The Man With No Name”, and it’s not only his identity that’s unknown, it’s his motives, his purpose, his origin. He’s the focal point of the story, even though here he spends a lot of background time, letting Lee Van Cleef and the others stand out in many striking scenes. This is Leone’s genius at work. We never forget Eastwood is there, somewhere.
“The Good, the Bad and the Ugly“ is a bizarrely sublime and a uniquely aesthetic masterpiece. The actors in title roles have given such extraordinarily superb performances, that it would be impertinent and disparaging to merely regard their swell work as acting. In fact their brilliant portrayals have immortalized Blondie, Sentenza/ Angel Eyes and the enigmatic Tuco. Lee Van Cleef is fiendishly unforgiving as the merciless Angel Eyes. Clint Eastwood is rugged yet suave, cocky yet adorable as laconic cigar-smoker Blondie, a role that laid the foundations of his illustrious career. But it is Eli Wallach, who steals the show with his captivating portrayal of Tuco, a portrayal that is as entrancing as it is enlightening. Wallach is amusing, capricious, nonchalant, uncanny and yet tenacious as Tuco, perturbed by his insecurities and dampened by his solitude. It is the tacit amicability between Blondie and Tuco and their mutual hostility towards the evil Angel Eyes owing to the vestiges of virtue present in them, redolent of their moribund morality, which gives the story, the impetus and the characters, a screen presence that is not only awe inspiring but also unparalleled…Sergio Leone’s magnificent and ingenious direction in synergy with Ennio Morricone’s surreal music, Tonino Delli Colli’s breathtaking cinematography and Joe D’Augustine’s punctilious editing makes the movie, a treat to watch and ineffably unforgettable. Initially aimed to be a tongue-in-cheek satire on run-of-the-mill westerns, The Good, the Bad and the Ugly, continues to stand the test of time in its endeavor to attain truly iconic status. It will always be remembered as European cinema’s greatest gift, not only to the Western genre, but to the world of cinema.
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Mint
A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears.
Near Mint
A generally unused poster with fresh, saturated colors. May have minimal tears at folds. Has no significant holes, no paper loss, may have minor tears along edges, may have fine pin holes.
Very Fine
A poster with bright colour and crisp overall appearance. It may have very general signs of use including slight fold separation and fold wear. It may have pin holes or very minor tears. This is the highest grade allowed for a poster that has been restored either on linen or on paper.
Fine
A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.
Good
An average poster with overall fresh color. May have tears, minor paper loss, minor hazing. Paper may be brittle due to age, may have minor stains. May have a small amount of writing in an unobtrusive place. May have medium or major restoration.
Fair
A poster with faded colors and brittle paper, showing significant signs of use. May have tears and paper loss. May have tape, writing, stains in image area. In need of restoration or had major restoration.
Poor
A poster that is worn, torn, and/or damaged. May have staining, cracking, dry rot, and/or large tears. May be heavily soiled, may have pieces missing. In need of major restoration.
All photographs and images used on our site are photographs of the actual poster/item you are buying, we do not use stock photographs.
LOBBY CARD
11 x 14″ printed on heavy stock paper. Used as display in theatre lobbies. Originally made in sets of eight. Some sets have a title card, which contains credits and artwork, essentially a mini-poster. The remaining seven cards are coloured photographic credits and poster artwork showing different scenes from the movie.
WINDOW CARD
14 x 22″ printed on heavy stock paper with the top 4-6 inches usually left blank for the local cinema owner to fill in the cinema and the date it was due to play. Largely discontinued during the 1970’s.
HALF SHEET
22 x 28″ printed on heavy stock paper. The image displayed is normally a smaller version of the main poster, although some do have different artworks and sometimes come in two versions.
INSERT
14 x 36″ printed on heavy stock paper. Inserts usually have the same artwork as a one sheet. Popular with collectors since they are smaller and easier to frame. Normally come tri folded or rolled.
STYLE Y/FORTY BY SIXTY
40 x 60″ printed on heavy stock paper. Rare since they were primarily used for major motion pictures only. Designed to be used outside the theatre, on an easel, normally at a drive-in movie theatre.
ONE-SHEET
27 x 41″ printed on paper. This is the most common size of poster, intended to be displayed in a glass “marquee” case. It is the most sought after size by collectors. Since the 1980’s most posters are sent to the theatre rolled and maybe slightly smaller measuring 27″ by 40″ and with the advent of backlit light boxes a growing number of modern movie posters are available double-sided and the more traditional single-sided.
THREE-SHEET
41 x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad.
BRITISH QUAD
30 x 40″ Most common poster size used in the UK. British Quads are horizontal and may have different artwork to the US one sheet. Like a US one sheet they normally come in two versions. Like a US one sheet they are usually supplied single-sided or more commonly now as a double sided poster.
BRITISH ONE-SHEET
27 X 40″, printed on paper. Very rarely used size.
ITALIAN LOCANDINA
13 x 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry.
ITALIAN PHOTOBUSTA
18 x 26″ Glossy, high quality, used as lobby cards in Italy. Size may vary, either vertical or horizontal format. There are also double Photobusta or mini Photobusta.
2-FOGLIO (DUE)
(DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.
4-FOGLIO
(QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork.
FRENCH
47 x 63″ (GRANDE) or 24 x 33″ (PETITE) French movie posters normally come with different artwork to either the US or the UK. Like the Italian’s some of the artwork is extrememly beautiful.
