This overly patterned tale of the Mexican revolution is the one example
of Leone’s politics becoming obtrusive – witness the grotesquely
schematic close-up on the chomping mouths of the aristos. Rod
Steiger's Juan finds his brother-in-terrorism in James Coburn's
Sean, the Irish dynamite expert with a gratuitously-flashbacked
past. Even Morricone’s music is at its most hysterical, with trademark
female screeching behind the ill-judged shenanigans.
