In Italy, they called him "Il Cigarillo";Eastwood made his name as The Man with No Name, his trademark a stubby cigar, in three Sergio Leone"spaghetti westerns," A Fistful of Dollars, For a Few Dollars More and The Good, the Bad and the Ugly.Technically, he does have a name in this film, "Joe"; technically, also, he is the good guy of the eponymoustrio, but the term is a relative one within the world of Leone's films. Leone's view of the West upsets allthe clich? of the genre (and creates some of its own), ndermines myth with brutality, and turnscomforting stereotypes into haunting archetypes. Eastwood's Man with No Name is a Nietzschean figure,aloof, amused, with only a mock morality to guide him through a grotesque world. In the Civil War-eraSouthwest, Eastwood joins forces with Mexican bandit Eli Wallach in a humorous scheme to reap the rewardon Wallach's head and keep the head intact for the next gullible sheriff. But $200,000 in an unmarked gravebrings out the worst in Eastwood's questionably good Joe, the bad Wallach, and the very ugly Lee Van Cleef;loyalties are tentatively set up, then brutally broken. More than anything, Eastwood is a visual ploy inLeone's stylized westerns, which are composed of jarring close-ups, bravura camera turns (synchronizedwith Ennio Morricone's eerie score) and surreal landscapes. Eastwood's face, captured in wide-screenclose-up, becomes another landscape to penetrate for its archetypal qualities.