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The Good, the Bad and the Ugly
Year:
1966
Country:
USA, Italy, Spain, West Germany
Genre:
Action, Adventure, Western
IMDB rating:
8.9
Director:
Sergio Leone
Eli Wallach as Tuco
Lee Van Cleef as Sentenza
Aldo Giuffrè as Alcoholic Union Captain
Luigi Pistilli as Father Pablo Ramirez
Enzo Petito as Storekeeper
Claudio Scarchilli as Mexican peon
John Bartha as Sheriff (as John Bartho)
Antonio Casale as Jackson / Bill Carson
Sandro Scarchilli as Mexican peon
Benito Stefanelli as Member of Angel Eyes' Gang
Angelo Novi as Monk
Storyline: Blondie (The Good) is a professional gunslinger who is out trying to earn a few dollars. Angel Eyes (The Bad) is a hit man who always commits to a task and sees it through, as long as he is paid to do so. And Tuco (The Ugly) is a wanted outlaw trying to take care of his own hide. Tuco and Blondie share a partnership together making money off Tuco's bounty, but when Blondie unties the partnership, Tuco tries to hunt down Blondie. When Blondie and Tuco come across a horse carriage loaded with dead bodies, they soon learn from the only survivor (Bill Carson) that he and a few other men have buried a stash of gold in a cemetery. Unfortunately Carson dies and Tuco only finds out the name of the cemetery, while Blondie finds out the name on the grave. Now the two must keep each other alive in order to find the gold. Angel Eyes (who had been looking for Bill Carson) discovers that Tuco and Blondie met with Carson and knows they know the location of the gold. All he needs is for the two to ...
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Reviews
acquaintance with western
I was born after 90-s and this film make me familiar with the genre "western". I want to say, there was one of the best three hours in my life, the atmosphere of that ancient times transmitted as good as it possible. You just forget about the present and dive into west with it bewitching characters, revolvers and gold hunting. Not the first time I notice, that films of 60..70-s are much better transmit the picture for viewer, directors of that time exactly knew what to show. Tongue does not turn to call the special effects "pure" or "funny", cos they seems more real in this picture, than all modern effect together. The great soundtrack was the thing, because of which goose appears on my hands and the room fill with heroes's tension and resoluteness. So, I was very pleased, watching this film and soon will continue getting familiar with this genre and creations of great Sergio Leone.
2015-05-17
The Good, The Better, The Best.
In a span of 3 years, Sergio Leone changed the entire landscape of westerns with his Dollars Trilogy. The change began with A Fistful of Dollars, got accelerated with For A Few Dollars More but it wasn't until Leone unveiled The Good, the Bad & the Ugly that the final nail on the coffin of the traditional westerns was hammered for good. Making major upgrades in all departments, the third chapter not only turns out to be the best of the three but is also one of the greatest & most influential motion pictures ever made.

The Good, the Bad & the Ugly is the story of three men racing against each other to find a fortune in gold buried in a distant cemetery. The film begins with a stylish introduction of the trio, places its story against the backdrop of American Civil War & manages to create some brilliant situations of escalating tension throughout its runtime that finally culminates with an unforgettable final showdown which, in my opinion, remains the greatest climax ever filmed in cinema history.

The direction by Sergio Leone is an absolute class. Not only this film presents him at the creative heights of his career but also in complete control of his skill. The screenplay itself boasts many catchphrases & is infused with lots of humour. Cinematography transforms the barren landscapes into scenic beauties but also contributes to the drama through multiple close-ups & controlled stillness to add uncertainty to the scenes. And in spite of clocking in at 177 minutes of runtime, the film seems to fly over thanks to its clever editing.

Coming to the performances, Clint Eastwood plays the good character with sublime style. Lee Van Cleef stars as the bad character & impresses as the ruthless & sociopathic mercenary. But the real show-stealing performance amongst the three turned out to be Eli Wallach's rendition of the ugly character. With effortless use of wit & expressions, Wallach nails his role of an outlaw to absolute perfection, is also responsible for the comic relief in this film delivers & even the story is more inclined towards his journey as we eventually learn about his background unlike the other two characters.

Last but not the least, the most important aspect worth mentioning about is Ennio Morricone's famous score. Captivating from the very first frame, the way the music drives this film is sheer perfection. Staying true to its origins & picking up from right where it left off in the previous chapter, the score makes extensive use of whistles, gunshot & cannon fires that permeates the film seamlessly & the main theme is something you've already heard even if you haven't seen the film. But where it's as its best is in the final climactic moments, turning the sequence into a truly bone-chilling, unforgettable & haunting experience that remains unsurpassed to this date.

On an overall scale, the ingenious direction of Sergio Leone & musical genius of Ennio Morricone is a combination that yet remains to be challenged & probably may never be equalled. And these two alone make this film pretty good. Add the strong & scintillating performances of Eastwood, Van Cleef & Wallach to that and the mixture just gets better. And finally, on adding this film's perfection in other filmmaking aspects like cinematography, editing, set pieces, every minute detailing & the final showdown, we have a cinema that's simply the best.

Immortal for its contribution to western genre, The Good, the Bad & the Ugly is a stunning work of expert filmmaking whose significance to art, culture & cinema will never be forgotten. It's the greatest western ever made. It's one of the greatest films of all time. And it's my all time favourite foreign language film as well. Extremely recommended.

And no you don't have to watch the previous two chapters before moving on to this one. So, sit back & enjoy the western that changed westerns, forever.

Full review at: cinemaclown.wordpress.com
2010-01-06
The Ecstasy of Music is far higher than the ecstasy of gold
This movie is not only sheer entertainment, it has the most profound music in the number 'ecstasy of gold' by Ennio Morricone. Although there is no comparison in the quality of one musical piece with another, but I would rate 'ecstasy of gold' as the best orchestral piece ever - simply a masterpiece from Morricone, who has produced the best music for western genre films. The theme music is also superb.

The mood of the film transports you to that time and world and gives a feeling of that time and places were everyone was desperate, adventurous, daring, even reckless for the most coveted thing - gold. It has been called the yellow fever - a state in which people were willing to die or commit massacres for gold.

This is the theme, and although it is a sad and haunting picture of man turning into wild beast - more savage than the so called savages, the action, the plot and the acting turns it into an ecstasy. Not to be missed.
2012-07-22
The Blood of Human Kindness
Eight of Ten Stars. I was so enamored of this movie as a teen that my Northwestern University freshman dorm wall was papered with big B&W posters of mssrs. Eastwood, Wallach and Van Cleef in the Fall of 1968. I was quite the little existentialist then; "If it feels good, DO IT!" was the mantra of my high school Senior English teacher. Well, it felt good, and bad, and ugly. I ended up dropping out of Northwestern after Kent State and, taking the soundtrack of GBU (in my head) with me to Vietnam in 1971, I proceeded to get a real-world education in the old 'ultra-violence' as an infantryman in the AMERICAL Division... WHAT you may ask does this have to do with an American Civil War movie, directed and written by an Italian Communist? (Sergio Leone's daddy may have been more of a commie than Sergio was, but the fact is that "A Fistful of Dollars" was STOLEN from Kurosawa, while "The Magnificent Seven" was PURCHASED years before. The end justifies the means? Imitation is the sincerest form of flattery?) http://www.fistful-of-leone.com/classic/articles/prof.html I found out firsthand the moral ambiguities of war. If only I had paid attention to the subtext in GBU! If only I had studied the Matthew Henry battlefield dead tintypes as Leone so obviously had! His hideous, rotting carcases of Union and Confederate soldiers, bloating in direct sunlight, would have sufficiently revulsed me from any notion that I could 'play soldier' and survive! But here I am, having just barely survived.... and I just got out of the fabulous Fox Theater here in Atlanta where the restored GBU was projected in all its Technicolor/Technirama glory at fully loaded, screaming Morricone volume.... there must have been at least a thousand people there, and hardly anyone moved. INCREDIBLE. It is said that the movie was made to the tunes Morricone made prior to production's start; i.e. Leone played the music while shooting the scenes! Hence, these epics are giant music videos - fantasias - symphonic cinema- they are huge, elegiac tone poems! And, God help me, I still love this movie.
2006-07-17
More good and beautiful than bad and ugly...but some of all four!
The Good, The Bad, The Ugly (1966)

A classic? Well, not so fast. Are we really okay with brutal (if brief) mistreatment of women, fast and senseless bloodshed, and lots of bad overdubbing of dialog?

Maybe.

Yes, this is a cinematic movie, and if you can overlook its flaws (some) you will be wowed and dazzled by its merits (very many).

Overflowing with archetypes, filmed with huge widescreen effect, brimming with familiar scenes vividly re-imagined, this is a movie that is dramatic (or ironic) in softspoken (or cynical) ways. There are gunslinging shootouts, long lonesome treks across the desert, and showdowns between tough guys. Yup. And it's all built around a story that leads scene after scene to one big moment after another. There's no question this is a movie that is great fun to watch. In fact, for its visuals, the sheer cinematography and sets and editing, this is as good as it gets, amazing stuff. The man behind that was Tonino Delli Colli, the cinematographer for some other of director Sergio Leone's legendary movies beyond this one: Once Upon a Time in the West, and Once Upon a Time in America (and well as the astonishing Life is Beautiful.) But overall, for its content, its plot, its message (if that matters), is TGTBTU a great film, a masterpiece?

Well, the movie is smart. It deliberately plays off of its genre, which had worn itself thin by the 1960s, so things push over the top in a campy, awesome, excessive way. It almost feels obliged to revisit and exaggerate all the themes of American Westerns, including the Civil War, including slapping women around and killing people in a flurry of fast six-shooter magic. Even the title makes clear this is about a stripped down, pumped up version of older classics.

Whatever his aura over time, Clint Eastwood is no great actor, not in my book, and here he is easily out shined by Eli Wallach, who plays a less attractive type, and by Lee Van Cleef, who plays a more attractive one. But Eastwood isn't meant to be acting, not exactly. He has aura. He's stoic and inscrutable, exaggerated make-up and all, and he shoots a mean Colt, or Smith and Wesson, something classy and throbbing. He's a great archetype, in a movie that is about archetypes. It's not a "realistic" movie, of course, not at all, and it's actually a comedy at times, overall, and it's totally fun and never laughable.

Go ahead, compare it to The Wild Bunch, and then to Butch Cassidy, both coming just after this one (and no doubt influenced by it). Both of these later movies have more impressive acting, and more intense intentions (both in brutal violence and in cinematic innovation). But all three have a similar effect, playing within a genre that has always, since the 1939 Stagecoach, been beautifully trapped by its limitations (that's part of its staying power for fans). The Searchers (1956) and High Noon (1952), for starters, are working within the genre, and gnawing at it, as if its something to feed off of. That's where The Good, the Bad, and the Ugly really shines. I have trouble with aspects of it, but I really like it in a bigger sense, looking the other way as needed. I switch to first person because I think it's a personal preference, and a lot of guys I know love the movie to pieces, and a couple women I know think it's either stupid or insulting or boring (actually boring!).

It's an Italian production, which explains some of the out of sync dubbing. Sergio Leone obviously has an intuitive sense of what makes a movie moving, something sorely missed in a lot of productions since. It's gritty, dirty, and it pounds "profound" hard in a male kind of "toughness prevails" way. Sorry guys, but bite that bullet. Oh, and the soundtrack? Amazing, perfect, and rising above the movie, which is great in its own way, I admit.
2010-05-21
The most influential western ever.
By far the most ambitious and unflinchingly graphic western ever mounted, THE GOOD THE BAD AND THE UGLY is an engrossing, explosive movie shot through with a volatile mix of myth and realism.

Clint Eastwood returns as the invincible 'man with no name' or 'blondie'. This time teaming with two gunlingers (Lee Van Cleef and Eli Wallach) to pursue a fortune in stolen gold. But teamwork doesn't come naturally to such strong-willed outlaws, and they soon discover that their greatest challenge may be to stay focused - and stay alive - in a country ravaged by war. Forging a vibrant yet detached style of action that had not been seen before, and has never been matched since, THE GOOD THE BAD AND THE UGLY.

back cover.

10/10
2007-06-16
One of the Best of all Time
This film probably had the largest impact on my life. It set the tone for everything I then got interested in. American Civil War. Film Music. Clint Eastwood. Real Westerns. This is the best of the Dollars Trilogy and by far one of the best Westerns of all time. It has drama, comedy, cracking dialogue, some of the most brutal battle scenes - especially around the bridge - that I'd seen up to then, music to die for and set pieces that just ooze atmosphere and tension. I have never forgotten the end shoot-out. This was unique; 3 people?! You can't do that. But Leone did, and he did it brilliantly - all cameras and music. I have now seen this film too many times to count but I'll be back for another blast of buono, brutto, cattivo, someday. My son owes his name to this film. Yep, that there is Clinton.
1998-12-09
This is the reason why Leone is the greatest at what he does.
Before watching this movie, I have seen A Fistful of Dollars and For a Few Dollars more and I was quite impressed with both. However, after I have seen this, Leone instantly became one of my favorite directors. Leone has a distinct style in his films and this movie pulls it out 150%.

The cinematography in this film is incredible. His use of extreme long shots and extreme close ups are unsurpassed. The film opens with the close up of a man with an expressionless face creating a sense of mystery and excitement. What will this guy going to do? What's going to happen? Then we are introduced to two new unknown men and the three walk towards the entrance. Silence. Then suddenly, the 3 bust in, guns are shot and Tuco busts through the window and escapes with a half eaten chicken (or pork) leg. One of the men is injured, tries to make a futile final attempt to kill him and falls to the floor; the other 2 are already dead. Just in that one scene, we are introduced to Tuco and can already guess his character, his background info, and skill... without a single spoken line of dialogue.

As a matter of fact, nobody speaks until about 10 minutes into the film. It is all visual. We, the audience, are forced to imagine what the characters are thinking, what might be taking place. Leone gives the viewers a chance to guess what might happen. Even in Once Upon a Time in the West, we see his mastery at the No-Dialogue introduction. I also believe that this is his way to introduce the character's personality traits without the viewers actually knowing that they know it. A subtle technique so when they see a character do something later in the movie, the viewers can accept the character's actions.

However, Leone would not be as great as he is if it wasn't for his partner Ennio Morricone and his unique and memorable soundtrack. The coyote-like music sets the mood for this film like no other western. It is something you must listen to and experience it to retain the full appreciation of it, and know why it has become the trademark music for the western genre.

These techniques go on throughout the film and bring us to the ultimate scene in film history, where Leone's style shines to it's full extent. His incredible use of long shots to set the stage, close ups to catch the expressions, music to set the mood, montage to create the tension, expand it and finally when you are at the edge of you're seat, the scene goes off like lighting in the incredible climatic ending.

Leone is not just any director. He is one of the best, and THIS is his western!
2006-10-15
Timeless
Varying opinions on this film posted, but for me its a top quality, ground breaking film that is timeless. This is the ultimate test of a great film. It stands up with any modern classic, it has humour, twists, stylised violence, and its just a top film.It wasn't the first spaghetti western i know, but i think its by far the best. I just wish they had done a sequel to this. Some how i don't think Tuco was a man to take this lying down .... or hanging around.

"Hey, Blond ... You know what you are? Just a dirty son of a-bi ....."

Tuco now had all the money he could wish for, but no one double crosses Tuco and lives . . .
2008-01-16
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