Thus, viewing these movies becomes an act of love for the genre, the declaration of belonging to a community; it is no longer a mythical experience inside a historical background.
This is because in Spaghetti Westerns, history no longer exists; everything is concentrated in an abnormal quantity of details in the immediate foreground, which obstruct the complete vision. It is no coincidence that the swan song of this genre was Sergio Leone's great historic film Giù la testa (1971), which offers a painful, pessimistic reconstruction of the sense of revolution in the world.
There are no more heroes who cross cities or countries in order to set things right: that classic dialectical movement of the American Western (from peace to chaos and then back to peace) does not belong to the scheme of the Spaghetti Western, where everything is immersed in an amniotic liquid made of cynicism, the absence of ideal motivation, the triumph of money, both for the declared bad guys to the so-called good guys, who are really only amoral.
Entering a Spaghetti Western is like going inside a nightmare, where there dominates a psychedelic desire to exasperate feelings, a depressive mania in behaviour.
In the films, these characteristics are always the same. Time is dilated, everything ends where it began, with a convulsive sense of death which does not succeed in making itself the instrument of knowledge and diversity.

by F. D.S.  | :venews
Tr. Maria Fasolo september 2007