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The Good, the Bad and the Ugly
USA, Italy, Spain, West Germany
Action, Adventure, Western
IMDB rating:
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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One of the Best Westerns Ever Made...
'Buono, il brutto, il cattivo, Il' was at its release in 1966 a very unconventional Western epic that follows the travails of three gunfighters looking for $200,000 in stolen Confederate gold.

Also known as 'The Good, the Bad and the Ugly', it was Italian-born (Rome, 3 January 1929) Sergio Leone's third so-called spaghetti Western after 'Per un pugno di dollari', aka 'For a Fistful of Dollars' (1964) and 'Per qualche dollaro in più', aka 'For a Few Dollars More' (1965).

It is generally considered one of the best films of its kind ever made, a masterpiece, one that almost inexplicably continues to get better with each viewing. In a way, it's a morality play, weighing the consequences of good and evil, but it does so in its realistic portrayal that sometimes, crime DOES pay, at least in the short term, and sometimes good DOES go unrewarded.

This film ushered in a new concept of a previously all too oft told Western story, probably tolling the death knell for the traditional American-made, Good guy/ Bad guy, White hat/ Black hat Western that was so prevalent before it.

The three main characters of the film are as powerful as Leone's brilliant vision of the Civil War era America, he used as their backdrop. Lee Van Cleef ('The Bad') is evil in the flesh. Beedy-eyed and totally ruthless, he believes it only takes one thing to be successful: whatever is necessary.

Clint Eastwood ('The Good') is the now legendary 'Man With No Name', but 'good' only in a Western concept of non-traditional good. He has a sometimes detectable and occasionally observable sense of honor that motivates his behavior and conduct from time to time.

Eli Wallach ('The Ugly') is Tuco, and he's easily the most colorful character in the film. Impulsive and full of barely suppressible rage, Tuco gyrates wildly throughout the movie, stealing, lying, pretending to be a best friend in one scene, trying to kill in another. Tuco truly represents 'the ugly' side of human behavior.

At two hours and forty-one minutes, the movie was lengthy for its day, but there's neither a single scene that seems unnecessary, nor does the film seem lengthy while viewing it. The film unfolds with a charismatic style and grace, slowly revealing more and more about each character and the film's story. The pace of the film expertly captures the flavor of the time, giving the viewer a rare peek into a page of American history come alive on film.

Director Sergio Leone (who contributed to another epic of note: 'Ben-Hur' as an uncredited second unit director in 1959) manages to build a lot of sometimes unsettling tension in the film, thus preventing the longer than usual movie from ever getting uncomfortable or predictable. Every typical Western cliché possibly imaginable is either given a unique twist or utterly destroyed by Leone's masterful storytelling. Of special honorable mention is Ennio Morricone's original music score, which is about as masterful and complementary as it gets, culminating in the climatic gunfight in the cemetery at the end of the film. The music is so rich and powerful it easily stands on its own merits, and is one of the biggest selling original movie soundtracks to date. It is impossible to imagine the film without it.

'Unforgiven' may well have been the sequel to 'The Good, the Bad and the Ugly', the story of what eventually happened to the 'Man With No Name', and won Oscars for Best Picture and Best Director, and the nomination for Best Actor for Eastwood in 1992 (the film also was nominated in six other categories and won in three of those). Eastwood dedicated this movie to Sergio Leone who died 30 April 1989 in Rome, and who had believed in him early in his career.

Call it 'Buono, il brutto, il cattivo, Il' or call it 'The Good, the Bad and the Ugly', but after seeing it you'll call this movie absolutely brilliant at MANY levels, including the one mentioned above by Kitchener.

It is a classic like no other, and is easily one of the best Westerns and films of its kind ever made.
film making of the highest order
The whole picture is superb, but the closing twenty minutes or so are simply breathtaking. From when the dust clears after the bridge blows, the movie develops a momentum that doesn't let up until the very last shot.

The dying soldier; Tuco being blasted from the horse and crashing into the gravestone; Tuco running round and round the graveyard (how was that shot?); the way the three protagonists come together; the shootout; Tuco and Blondie playing out their last confrontation; and then a final wail,the guitars come in one more time and Clint just rides hell for leather out across the desert.

It's cliché to say "they don't make 'em like they used to" but not only don't "they", "they" wouldn't have a clue how to make a movie like this any more.
One the greatest, most impressive, interesting, breathtaking, and groundbreaking films of all time
The Good, the Bad, and the Ugly is one of those movies that everyone has heard of but not enough people have seen. It pushed itself rather boldly into pop culture and 44 years after it first hit theaters in Italy, it still gains respect and admiration in the United States.

It's the third part of the Man With No Name Trilogy, and was preceded by Fistful of Dollars and For a Few Dollars More, both of which are very commendable films themselves. All three movies revolve around the titular man, who goes by a different alias in each film, this time being called Blondie. The Good, The Bad, and the Ugly is a prequel to the first two movies, meaning that it is not required to watch them first and this film stands alone fine.

The story begins by introducing us to our three central characters: the violent but childish Tuco (the ugly), the heartless mercenary Angel Eyes (the bad), and the mysterious bounty hunter Blondie (the good). While traveling through the desert, Blondie and Tuco come across a dying man who knows the location of a huge deposit of gold buried in a cemetery. Tuco hears the name of the cemetery and Blondie hears the name of the grave, but neither will tell the other for fear of being double-crossed so they are forced to work together. As they embark on an incredibly journey through 1860s Southern America as it is torn apart by the Civil War, they encounter various obstacles including but not limited to the involvement of Angle Eyes, who also wants the money. The whole thing ends with a heart-pounding standoff at the center of the cemetery in which all three men put their lives on the line.

The story is gripping and genuinely interesting, the actors all put forth outstanding performances, the cinematography is as good as it gets, the music has to be heard to be believed, and the climax is one of the most intense events ever recorded on film. There's no such thing as a perfect movie, but this one comes as close as any will likely get.
Basically, if you have to see one western, watch this one. From the opening credits, you can tell its going to be a stylish, bloody ride.

What I admire most about this film is the attention to detail. Leone doesn't rush scenes; sometimes we have shots up to five minutes without dialogue.

Tension chews nearly every scene as we observe the eyes and hands of the characters. It's as much a film of greed and civil war, as it is about deception.

The acting is perfect all round. Clint, Wallach and Cleef are all amazing in their roles. They manage to live up to their roles of good, bad and ugly well, but it's not as clear cut as that. The characters in this film are all morally ambiguous and so they should be. At a time like the civil war, even the "good" can be "ugly".

Great direction, superb acting and amazing style. The film is very efficient at telling its story - and the ending is amazing.

Definitely watch this.
A True Masterpiece
People like to throw the term 'Masterpiece' around and rarely is it ever as apt and as TRUE when concerning Sergio Leone's The Good the Bad and The Ugly.

I mean, where to start? How about the music for instance, Morricone writes truly inspirational and masterful work, sure, everyone knows the theme tune, but his music has influenced EVERY western reference since. He captures the mood, the emotion and makes this movie EPIC with his wonderfully orchestrated scores. The landscapes and scenery are visually stunning and it's perfectly filmed for true atmosphere, intertwining with the aforementioned music, well it's nothing short of magnificent. Every scene is influential and significant, and equally as intriguing. The acting by Clint Eastwood can take no other meaning but 'cool'. He is what every gun-slinging', cigarette chewing cowboy is based on post-this and no doubt has inspired TONS of action heroes (Or indeed Villains) throughout cinema.

But the storyline isn't as basic as one would first imagine: three gunmen searching for a rather large sum of money, it seems that simple. However, all of the gunmen have complex personalities and none are flawless in moral judgment, to which it is hard to judge who is indeed 'Good', 'Bad' or 'Ugly'. The classic 'Good Versus Evil' situation that is such a frequent theme in film (And coincidentally, more often in westerns) is slightly blurred in The Good, The Bad and The Ugly and I personally think there is no definite and it is left up to the viewer to decide.

This movie is simply essential viewing, an all-time classic and much deeper than would first appear. Incredible.
Great story telling and non conventional film making.
Greed.If you let it,it can overcome you.It has the power to turn your friends into enemies,and your enemies into friends.There's gold buried in a graveyard.There are three men.Two of them know what graveyard.The third knows what grave.These three men are not friends.Each one has nothing but contempt for the other two.That is,normally that would the case,but when there are riches untold involved,they are best friends willing to do anything to keep each other alive,even going so far as to declare war.....on a war.The Good,the Bad,and the Ugly is a well told story of greed and what it does to us if we let it.It is also great movie making from a time when the world wasn't in such a big hurry.It was OK to go ten minutes in a film without a single solitary word being spoken and to go from an extreme wide shot one minute to an extreme close up the next.It was non conventional for it's time,and that's what was,and still is,great about it.
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?


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.
Masterfully shot; masterfully scored; masterfully directed, Leone's The Good, the Bad and the Ugly is a stunning and highly involving piece - just masterful.
Sergio Leone's 1966 Western The Good, the Bad and the Ugly unfolds under this hostile, violent and hate filled umbrella of Civil War America; a fitting backdrop of ongoing warfare and hostilities to which two American men and a Mexican bandit strive to find a large box full of valuable coins buried out in the big country somewhere behind Confederate Army lines. In using a plot item as routine as said example and applying it to a relatively routine singular strand arc for the film's narrative to take, Leone essentially breathes so much life into a set up and plot plan that about half way through you forget the basic bare bones of the movie and find yourself going with it, utterly immersed in the tale the director's laying out in front of you. So much has been written and said about the film, like other such examples at the top of each genre, that further comment and analysis may seem futile. The Good, the Bad and the Ugly may very well be the pinnacle to the western as Psycho might be to horror or Apocalypse Now to the war, for instance. If it isn't, or either of the said examples aren't, then there will still be a large cluster of individuals that would sternly argue otherwise.

The film begins with a loud and confrontational title sequence, a brash and expansive manner in which to announce your film has arrived; the sort that sees a flashing of character faces and arrays of different colour, a sequence in which even the little animated horse gets the full force of a cannonball that's been fired off. It sets the tone for a no holds barred ride of guns; gunslingers and no nonsense people with no nonsense attitudes as observations of greed and that of both a mid and post-war crumbling society plays out. The film features some of the best direction I've ever seen; Leone's ability to shift gears and change the film's tact from one thing to another, as loyalties shift and events take a turn for the different is near-flawless. His ability to essentially construct a number of small, minute set-pieces amidst this wide-open and dusty, hostile setting is immaculate; but the change of tact he applies later on towards the end of the film in capturing a Civil War battle between the North and South is just as impressive; portraying a larger fight sequence as the inevitable showdown between the film's three main players draws nearer and that sense their showdown will be of a similarly epic proportion, despite it being just another gunfight and despite the fact all of those thus far have been between grossly outmatched participants.

Leone is all for spectacle and action to propel the plot, but his ability to capture the little things; the terrain and just the sounds that it omits is wonderful. The introduction of Angel Eyes, aka The Bad (van Cleef), for instance sees a young boy flee into his house on first sight of him as he arrives; Angel Eyes' boots stomping on a stone floor whilst he approaches an elderly man sitting at a table as a dog barks outside, all of it a routine use of composition and SFX, but the drawn out editing process; the fact a kid ran for his life at first sight of him and the semiotical driven noise of a barking dog which suggests a rabid animal or ominousness build the scene and character without anyone ever explaining or saying anything.

They call him The Bad because he shoots without mercy and takes without conscience, leaving a family in tatters and on another occasion beats a girl to a near pulp until she gives him what info he's looking for. The name Angel Eyes is wholly ironic. This makes Clint Eastwood's 'Good' (aka Blondie) and Wallach's 'Ugly' (aka Tuco) perhaps look more favourable than they actually are when it's revealed they're mostly in it together against this blackly dressed; father/husband murdering; woman slapping figure of evil. Tuco and Blondie's relationship is a strange one, a mutual appreciation of one another and the death they leave in their wake. Tuco would no sooner shoot Blondie, than hang him, than act like they're best friends. No longer is 'The Good' of a western limited to wearing the sheriff's badge and/or cleaning up towns of drunks and no-good varmints; as here, 'The Good' would much rather come across as upstanding; fleece a local sheriff of $2,000 and then make off with the cash against the guy he was initially in tow with.

Tuco's raging attitudes are captured in a single shot that encompasses a sketching of Christ on the cross as he swigs alcohol whilst wearing an eye-patch, the film at a point where Tuco seems to be doing good in aiding an old friend but perhaps with a traitorous eye still on the prize as the patch acts as a visual distinction of the two sides of his face doubling up as his sinful and righteous attitudes, whereas he gives the Holy Trinity throughout. But THE scene that encapsulates his character is in a store early on during which, betrayed and foaming at the mouth for revenge, he fondles some handguns in front of an elderly clerk before angrily discarding them. He then fondles some more and asks for bullets, drawing you into the scene in an utterly effective manner and its threat element within as we wonder what he has in store for the clerk above all else. There's a solid hour of character involvement and some set-piece exchanges which work wonderfully well; and a later juxtaposition between diegetic musical content with an interrogation brought a smirk to my face when I realised whom it was that felt so inspired to pay homage to such a sequence. The film is engrossing, rich in detail on so many levels and an absolute outright winner of a piece.
Sergio Leone's Western Masterpiece
I avoided seeing this film for many years. As a whole, I do not like westerns, they are typically clichéd and hokey. Finally after reading the raving reviews and a strong urge by my film instructor, I rented it. I was blown away and left in awe of Sergio Leone's spaghetti western classic.

The acting is very intense, especially from Lee Van Cleef's character Angel Eyes. Clint Eastwood does a great job as the righteous Blondie, but Van Cleef's character stands out to me more. The camera work is greatly done, especially in the graveyard scene and the associative shots used during the Mexican standoff scene. Being a huge Quentin Tarantino fan, at the end of the movie, I thought to myself "so that's where he got his inspiration" (meaning his later works such as the Kill Bill series and Inglorious Basterds). The thing that makes the film to me is the soundtrack. The music is used in very good taste, whether it is the classic theme from the beginning or the use of Ecstacy of Gold during the graveyard scene.

If you love westerns, this is a definite must. If you do not like westerns, this is still a must for any movie lover. Overall, it's a 10 out of 10 rating for the greatest western ever made and one of the greatest and most influential films of all time.
The good the bad and the ugly
A pure western.Will always be remembered for its great music and the personality of Clint Eastwood.In fact this was the film in which Clint Eastwood made his name.

Both Lee Van Cleef & Eli Wallach put in sterling performances.The direction is exceptional The real merit of this movie is that it brings to light the exact situation in the USA around the period 1864-65 when the confederates were losing the war.There was confusion & chaos all around & no real authority.Hence the proliferation of a number of bandits and outlaws.

The photography and direction are breathtaking and there is areal attempt to bring out the characters of those who dominated the period.Life could be extinguished at any moment & a man had to live by his wits and by his guns.Women were fair game to any outlaw.Hanging and capital punishment were routine

This was the real United States of that period and they could practice this culture in isolation,as the communication & technologies of the period were highly limited compared to today.
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