My Name Is Nobody (1973)

Henry Fonda plays a legendary gunslinger who just wants to take a boat to Europe to finish out his years. Terence Hill plays a younger gunslinger that idolizes Fonda and keeps following him around, trying to force him to go out like a legend "ought" to.

There's some vague stuff about a businessman acting as a front for the Wild Bunch by pretending the gold they steal is coming from a tapped-out mine he bought, and him going after Fonda because he expects Fonda to come after him.

The movie doesn't really hold together. Amazon Prime's listing made sure to mention Sergio Leone (but he's credited with the idea for the movie, while Tonio Valerii is the actual director, and he's no Leone. The movie is both slow, and lacking in story. The plot doesn't hold together, because there's nothing much holding the characters together. No shared goal, or bitter past. Fonda and the businessman may have issues, but Fonda doesn't care about revenge. Hill has no history with either of them outside of being a big fan of Fonda's. He's briefly hired by the businessman to kill Fonda, and any tension from that is tossed aside within minutes. 

Fonda has no interest in making a heroic last stand, and Hill doesn't act to force his hand. Fonda basically just eventually decides to go ahead and do it. It would be one thing if Hill was taking actions that pointed the Wild Bunch towards Fonda, but he just sort of goes wherever Fonda's going, always ahead of him somehow, even if he left later, and is irritating. Like Jiminy Cricket with a six-gun.

There's a whole scene where he takes part in a shooting contest in a bar that seems designed to show his skill, but mostly just to waste time and have there be a couple of characters mad at him that he can beat later. But it contributes nothing to story, and it doesn't reveal anything interesting about the leads we didn't already know.

I think Hill's supposed to be a comic twist on the Eli Wallach/ Rod Steiger characters in Leone films. Except for those characters, the exaggerated mannerisms and motormouth disguise truly dangerous people. Hill's character alternates between grinning like a brain dead idiot fanboy and giving Fonda sage advice, or showing off his speed by drawing another man's gun and then smacking the guy in the face when he tries to stop this.

The movie tries for the dramatic build, but it hasn't succeeded in making us care, so the response is more, "get on with it already!" And it ends with a voiceover of a letter Fonda is writing to Hill that goes on for at least a couple of minutes, belaboring the points the movie has been trying to make.