Eli Wallach

the man with no name, and Angel Eyes, and Tuco Benedicto Pacifico Juan Maria Ramirez, otherwise known as the rat.

Oh my God, Eli Wallach completely makes that movie.

But anyway, Lego Man, and I was listening to this because I was, my hands were getting a little dirty in someone else's improving go fast skill set, and I couldn't figure out what was missing in my head, and I said, where would you drive to? And Captain 9-11 Mobile says, you know, I'd never thought about that.

I'm like, find yourself some sort of, find yourself some sort of mindset establisher, tuner, leveler.

So I gravitated toward those.

The Jane character I fashioned after Eli Wallach from The Good, Bad and the Ugly.

Let's talk about that for a minute.

Okay.

So I mentioned that I had a movie that is top three all time as far as recognizable scores.

It is 1967's The Good, The Bad, and The Ugly, directed by Sergey Leon, starring Clint Eastwood, Eli Wallach, and Lee Van Cleet.

The score was done by... screw it up you know marconi ennio marconi thank you andy uh

you're good this good job actually he's our new co-host right

well i can't say words uh i know things

i just can't speak there's speaking of documentaries there's a new one on ennio that's really great

so it involves three characters uh Blondie, The Good, which is played by Clint Eastwood, The Bad, Lee Van Fleet, Lee Van Fleet, Lee Van Cleet, The Bad, Angel Eyes, and Eli Wallach, Tuco, The Ugly.

Tuco and Blondie have a scheme going around because Tuco is wanted basically for every possible crime in every city in the West.

Right.

Eli Wallach, an actor.

Again, old-timey here.

I didn't remember this.

Ava Gardner.

Martin Balsam, Burgess Meredith, John Carradine, Sylvia Miles, Eli Wallach.

Wow.

Now the new school, who's in the new school who's in this? Chris Sarandon, Jeff Goldblum, Christopher Walken, Jerry Orbach, Beverly D'Angelo, Tom Barringer.

And Best Visual Effects went to Inception, beating out Alice in Wonderland, Harry Potter and the Deathly Hallows Part 1, Hereafter, and Iron Man 2.

And then the Second Annual Governor's Awards gave away honorary awards to Kevin Brownlow, for the wise and devoted chronicling of the cinematic parade, to Jean-Luc Godard for passion for confrontation for a new kind of cinema, and for Eli Wallach for a lifetime's worth of indelible screen characters.

And the Irving Jean Fahlberg Memorial Award went to Francis Ford Coppola.

So films with multiple nominations.

This is a very small part for someone who was a huge movie star five years earlier and still carrying films on his own in 1960 when this was shot.

Monty doesn't even show up until 47 minutes into this just over two-hour film, by which point we've already met all the other characters, witnessed a full romance play out between Monroe's divorcee and Gable's aged cowboy, and come to understand that Eli Wallach's pilot wants her too.

We first encounter Clift's character, Purse, short for Percy maybe, but also a homonym of the object Marilyn Monroe has in her hand in this scene and the next, waiting for a long distance call to be connected to his mother.

This scene, in which we hear only Purse's side of the conversation, lays out almost everything we need to know about Monty's character, and almost all of what we will learn about him, as the movie doesn't have much space to make use of his talents.

If Kazan's comment about how Clift's sexuality was that of a child waiting for his mother to put her arms around him applies to any of his performances, it's this one.

This makes Rosalind the wrong woman for him because she's looking for a daddy, which she finds in Gable.

Apologies to odd man out Eli Wallach.

And still, for the last third of the film, which consists of a prolonged sequence involving the men trying to capture wild mustangs that they can sell to a dog food company, Purse and Rosalyn get largely siloed off together, clearly based on a kind of gender divide.