If one genre of film is entirely of the 1960’s, it’s the Spaghetti-Western. If one man embodies Spaghetti-Westerns, it’s Sergio Leone. And if one film of his stands above the rest, it’s The Good, the Bad and the Ugly (1966).

Leone’s masterwork, the thematically linked Dollars trilogy, simultaneously laid out the groundwork, expanded the ethos, and perfected the Spaghetti Western. A Fistful of Dollars (1964) started the trend with huge commercial success, and created a new Hollywood leading man: Clint Eastwood. For A Few Dollars More (1967) was darker in tone, and more ambitious with its narrative. The Good, the Bad and the Ugly, the final installment, the best known and perhaps most influential, introduces a new motif which has been a staple of Hollywood ever since: revenge.

A simple premise – three outlaws compete to find a Confederate gold-stash – is spun out into cinematic gold. Each character introduction is unique, shockingly direct, and serves to establish the titular outlaws as some of the most memorable characters in film history. From Clint Eastwood’s arrogant yet charming Blondie, and Lee Van Cleef’s menacing Angel Eyes, to Eli Wallach’s morally repugnant Tucho, we learn that none can really be described as good – all are equally evil.

Shown through Leone’s trademark unflinching style of extremely close and extremely distant shots, every scene is drawn out, heightening tension to excruciating levels. Perhaps the true legacy of this film, however, is the soundtrack.  Ennio Morricone’s main theme is truly iconic. The climactic “The Ecstasy of Gold” is heart stoppingly beautiful. Everything works together to create a true masterpiece. All its elements, from the visuals, and the sound, to the performances, make The Good, the Bad and the Ugly a film that is not only genre-defining, but decade-defining too.