If you try to compare “The Good, the Bad, and the Ugly” with some modern cinema, we will not see super-dynamic scenes. In the picture Leone you will find a leisurely course of events - slow, like floating frames, follow the movement of the character, sometimes from a long distance, and the same unhurried dialogues of the characters. Leone's handwriting is a camera that attentively watches the spur of the criminal, and after watching another minute for stepping over the characters. Even the shootings in the film are filed in an unusually seasoned manner without hundreds of shots per second.
In addition, in his paintings there is another pattern - the underlined irreality of what is happening. A classical western has a rigid cinematic form with reference to historical events, while Leone films, on the contrary, do not have a clear time and location reference. About the heroes almost nothing is known, except for rare hints about their dark past. They are endowed with superpowers of comic characters-types: fast shooter, clever rogue, and so on, making them almost invulnerable to enemy bullets and incredible trials.
I watched this movie in one breath, I did not even notice how the three hours that this film lasted went.