「続・夕陽のガンマン(66)」
IL BUONO,IL BRUTTO,IL CATTIVO(伊)「いい奴、悪い奴、汚い奴」、THE GOOD,THE BAD,AND THE UGLY(英)「いい奴、悪い奴、汚い奴」劇場公開作品
カテゴリー(Clint Eastwood)
監督セルジオ・レオーネ、脚本ルチアーノ・ビンセンツォーニ、トニーノ・スカルベリ、セルジオ・レオーネ、撮影トニーノ・デリ・コリ、音楽エンニオ・モリコーネ、出演クリント・イーストウッド、イーライ・ウォラック、リーバン・クリーフ、マリオ・ブレガ、チェロ・アロンゾ、ルイジ・ピステーリ
「荒野の用心棒(64)」「夕陽のガンマン(65)」と続き大ヒットを放ったイーストウッドとセルジオ・レオーネのコンビはマカロニウエスタンブームのピークといえる1966年に2時間41分という超大作を作り上げた。まさにそれまで公開されたマカロニウエスタンの中でも質・量ともに最大で、マカロニウエスタンファンのみならず観るものすべてを感嘆させた作品である。舞台は南北戦争末期のテキサス、戦争が舞台になっているだけにスケールも大きく、単なるガンマンの対決だけではなく。1本の橋をめぐって南北両軍が激突する戦闘シーンなどは多くのエキストラを起用したスペクタクルに仕上がっていた。
今回のイーストウッドのスタイルはこれまでの2作品とは少し異なり前半は白いコートに鍔の広いテンガロンハットで登場。使用される拳銃も南北戦争という時代背景からコルトではなく、銃身が6角形になったネイビーである(それでも銃把にはちゃんと蛇がとぐろを巻いたマークは入っているところが楽しい)。観るものに「あれ、これまでとは違うぞ」と思わせながら、少しずつこれまでのスタイルに近づいて行き、最後の墓場での決闘シーンではきちんとポンチョを着込んで、おなじみのスタイルとなる味な演出が施されている。今回のキャストは、前2作で悪役を演じていたジャン・マリア・ボロンテが抜け、その代わりにハリウッドのアクターズスタジオ出身の名優イーライ・ウォラックが参加した。
物語は、良い奴ブロンディ(クリント・イーストウッド)、醜い奴テュコ(イーライ・ウォラック)、悪い奴セテンサ(リーバン・クリーフ)の3人が奪われた南軍の公金20万ドルをめぐって互いに組んだり裏切ったりしながら展開する。お尋ね者テュコとガンマンのブロンディはコンビ。ブロンディがテュコを捕らえて賞金をもらい、テュコが縛り首になる寸前に遠くからライフルでその縄を断ち切るという手口で稼いでいる。このお尋ね者と賞金稼ぎの取り合わせはこれまでの映画では見られなかったものでありアイデアを感じさせる。ところが、ここでブロンディが心変わりしてテュコを見限り砂漠に置き去りにしてしまうのである。この展開からわかる通りイーストウッド演じるブロンディの「良い奴」というあだ名にはちょっと首をかしげてしまう。冷酷なようで、隠れた優しさを秘めているのがマカロニヒーローの魅力だが、逆に今回のブロンディは優しさがあるようでいてテュコにとる態度には主人公らしからぬ冷酷さが感じられるのだ。
復讐に燃えるテュコはブロンディを見つけだし炎天下の砂漠を長時間歩かせ半死半生の目に合わせる。これは元々自分がされた仕打ちと同じことをやり返したわけである。ここでたまたま通りかかった無人の馬車に2人が出会うことから話は急展開を見せる。公金20万ドルを隠した瀕死の南軍将校ビル・カーソンから隠してある墓地と墓標の名をそれぞれが聞き合ったことから2人はやむなく協力せざるを得なくなる。コンビを再び組まざるを得ない必然性と、相手を出し抜いて互いの秘密を聞き出そうとする独特の面白さがここに生まれてくるのだ。つまり「続・夕陽のガンマン」は「夕陽のガンマン」と同じく物語の展開を楽しむマカロニウエスタンであると言えるだろう。
前回の「夕陽のガンマン」で実にかっこよく活躍したリーバン・クリーフは今回徹底した悪人を演じ、イーストウッドのキャラクターも前に述べた理由で魅力がやや失われているのが残念だが、この「続・夕陽のガンマン」はイーライ・ウォラックを軸に進行する物語であり、彼の金に対する執着がテーマとなっている。ウォラック演じるテュコは悪いことなら何でもござれだが、行動のひとつひとつがユーモラスで憎めない。冴えない風采の薄汚れた中年男という設定にもかかわらず、拳銃の早撃ちは抜群で、開幕、彼を狙ってきた3人の賞金稼ぎをあっと言う間に葬りさる。中頃でテュコが神父になっている実の兄(ルイジ・ピステーリ)と巡り会い、しみじみ語り合うシーンがあるが、ここでテュコが家族の口減らしのため自ら無法の中に身を投じたことが明らかになり、観る者は自然に彼に感情移入することになる。テュコの兄が神父だったという意外性と、テュコの金への執着の理由が意味づけられるのである。
いよいよ宝探しの旅へ出発するという場面で、全てを知ったブロンディが悲しい虚勢を張るテュコに何も言わず葉巻をそっと差し出し、それに伴ってモリコーネの勇壮なテーマ曲が被さるシーンは実に清々しいカッコよさだ。続く見せ場もセテンサの率いる一味とブロンディ、テュコのコンビが砲弾飛び交う廃墟で渡り合うシーンや、南北両軍が必死に守ろうとする橋を爆破して無駄な争いを止めるシーンなどテュコが活躍する場面が多い。それらの見せ場の合間にこの作品独特の人情味あふれる場面が組み込まれているのも特徴だろう。前出のテュコと兄との再会シーン、傷ついた若い兵士にブロンディが静かに葉巻をくわえさせてやるシーン、橋が爆破される音を聞きながら北軍の大佐がほほ笑んで息を引き取るシーンなどなどである。
橋を爆破して目的の墓地に着いた2人と後を追って来たセテンサを加えた3人が墓の名前を書いた石を中心にして3角形の決闘をするクライマックスはにらみ合いが6分間も続く素晴らしいシーン。「ガンマンの祈り」のバリエーション「3強相打つ」のメロディが流れ、3人がどう決着をつけるのかという緊迫感が最高点に達した瞬間に拳銃が一斉に火を吐く。結局、ブロンディが勝利を収め、テュコをこわれかけた十字架の上に縛り首の格好のままで放置しておくことになるが、丘の向こうに消えたブロンディが再び姿を現し最初と同じようにライフルで首の縄を断ち切ってやる。
しかし、このラストもさわやかさよりブロンディの底意地の悪さを感じてしまったのは私だけだろうか。大きなスケールと本格的な映像で見る者をうならせるが、ブロンディの性格設定のあいまいさ、「夕陽のガンマン」のクールなイメージを台無しにするクリーフ演じるセテンサの悪党ぶり、そしてあまりに長い上映時間といくつかの問題は感じられるが、何度も観賞を重ねるうちに、新たな魅力が発見される作品でもある。
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