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USA, Italy, Spain, West Germany
Action, Adventure, Western
IMDB rating:
Sergio Leone


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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
The Good, the Bad and the Ugly 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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A Classic
There are hundreds of comments here on this movie and most of them are of high acclaim which comes as no surprise to me. Many have included this in their all-time top 10 films and again it comes as no surprise. With those I agree, this is a great film. There is little I can add that hasn't been said here but I will go back to the beginning. I was a Clint Eastwood fan when I was a kid from his role as Rowdy Yates in Rawhide. When he made the Spaghetti Westerns as they were called, I of course had to see him on the big screen. A Fistfull of Dollars and A Few Dollars More were unlike the typical Hollywood Westerns of the 50's and 60's. Italian and American actors in low budget productions with overdubbed dialog filmed in Spain which was supposed to be Mexico or the US Soutwest. Heavy on style with strange music. Raw realism emerged from this strange brew and I loved them. Then this came out. The Good, The Bad, and The Ugly. Just the title itself was so impressive you knew this was going to go to another level from the first two. And it did. Ennio Morricone's music was so different and wonderfully strange and remains so even today. It was the perfect soundtrack score for this film. Sergio Leone's direction and his story and screenplay along with Luciano Vincenzoni and cinematography by Tonio Delli Colli are superb. A great cast with Eastwood, Van Cleef and Wallach. Eastwood's Hang Em High and High Plains Drifter that would follow were good but they couldn't top this. I've seen this dozens of times on TV but I haven't seen it on the big screen since it's initial release. This film ran a little long but it didn't matter because this was clearly a masterpiece. And so it remains. I would give this a 10 and highly recommend it. I'd love to see it on the big screen again.
Visual Literature
Sergio Leone is an underappreciated talent. His skill, in most cases, exceeds what he actually puts on the screen. This is, by far, his crowning achievement and the culmination of both his work and Clint Eastwood's career. After this, it is only pushing the plateau without success.

The primary focus of this movie is not the characters, the story winds up being the least of Leone's concerns. Instead, he is concerned about the camera and the music. Ennio Morricone, a genius in his own right, was seriously ignored by the Academy for his compilation here--certainly one of the Top 10 ever. He understands the crude editing of the mid-60s and exploits everything he can from the vision onscreen. If Leone was dissatisfied with the Ennio's final product, something MUST have been wrong with him.

The camera is another element that never lies. Modern filmmakers should study this before they try emulating MTV next time. With Leone's grandeur and a cast that understands that they aren't the real focus, how can he lose?

The story, while it isn't the greatest, is better delivered than such works as The Wild Bunch. Perhaps only High Noon understands the value of pacing and what to reveal/not reveal to the audience. Then again, Fred Zinnemann is an entirely different director. The character interaction here is certainly better than what Gary Cooper has to offer, not to mention the dialog includes some uncanny deliver by Eli Wallach.

Overall, a classic. This is a definer of the unconventional Western and visual literature. 4.5 out of 5 stars. A must see.
"Best climax" i have ever seen.
This is the film which made an effect on me when i watched this movie. What a wonderful cinematography, i think they made a good effort to do such a cinematography. When tuco and Blondie plant the bomb in the bridge i thought the blasting scene will not be realistic, but shockingly the blast was very realistic and i wondered that how would have they did that scene, really extraordinary. The ultimate scene in the movie is, when tuco,"who was eager to know the name of the cemetery from bill Carson, will kick Blondie when he was lying beside bill, but when bill dies and Blondie says that he knows the name of the cemetery, tuco suddenly cares for Blondie. This film has an excellent duologue's by making to understand the viewer indirectly. I think this movie has a best climax than any other movie. Adios..........
Sergio Leone's most visionary film...
Sergio Leone is arguably the most visionary director of all time. They say that before he even had a written script he could picture exactly what was to be on screen and the camera's direction in leading his characters. It was Sergio's World - an alternate place in an alternate time that he was free to control. He controlled the audience and his story like no other director.

To me, his best film was the one that was on many critics' ten worst films of 1984 list: "Once Upon a Time in America." I love the finished director's cut, the cut of the film Sergio Leone himself wanted and pictured in his mind while filming the movie. Unfortunately, the editor of the film cut everything into a two-hour picture and messed up the timeline for the theatrical release in 1984 - the result was a disastrous motion picture that now, with the director's cut, stands as one of the best of all time. James Woods once said that one of the critics who named it the worst film of 1984 later named it the best film of the decade.

"Once Upon a Time in America" was Sergio's dream project, one that took him ten years to get on the big screen and ultimately killed him by sucking the life out of him, but "The Good, the Bad and the Ugly" (1967) was undoubtably his most visual film. The extreme close-ups, the great way he lets the audience see nothing but what he wants - as far as he saw it, the audience should not wonder what is off-screen; whatever is within the frames is all there is. Compared to "Once Upon a Time" it seems a bit more corny and unrealistic - but it is a spaghetti western, and that is simply the point. It stands above the rest as the best spaghetti western of them all.

Leone is best remembered for his extreme close-ups. Director Quentin Tarantino once said, among many other things about Leone, his role model, that when he started out he knew not many camera directions, so when he wanted an extreme close-up in a film he'd shout, "I want a Sergio Leone on this guy!" Quentin Tarantino has such a respect for Leone that he even suggested the title "Once Upon a Time in Mexico" to director Robert Rodriguez, the title, of course, a derivation on "Once Upon a Time in the West" and "Once Upon a Time in America," both films of Sergio Leone.

"The Good, the Bad and the Ugly," a.k.a. "Buono, il bruto, il cattivo, il," is the final film in the Dollars Trilogy - "A Fistful of Dollars," "For a Few Dollars More," and, of course, "The Good, the Bad and the Ugly." I have yet to see this film's predecessors, but I doubt they are much better than this film. It isn't really about anything per se - it's a showcase of art and camera techniques. It is a showcase for Sergio Leone and a great one at that. I have no real care about the themes or outcomes - I simply enjoy being controlled by a masterful director such as Leone. When there's a director who can literally push in and give the audience specifically what he wants them to see, without the audience feeling cheated, you know you have a great director, because there's a fine line between a selfish director and a visionary director. Leone has a bit of both, so indistinct that it is hard to notice. The same thing was done in Carol Reed's "The Third Man" (1949), and the same is done here. And it is pulled off without any objections from the audience.

Clint Eastwood is The Good - he rides around the desert kidnapping criminals, giving them to the authorities and claiming reward money, and then freeing the criminals before they are to be hanged. He meets Tuco (Eli Wallach), a.k.a. The Ugly, and does his routine - but The Ugly fights back and, ultimately, kidnaps good ol' Clint, taking him into the desert and practically torturing him in the heat.

Then The Good overhears where a stash of gold is hidden from a dying man. The Ugly wants the gold so much that he nurses The Good back to health so that they can go off on a wild goose chase and search for the treasure. But there is already another man searching for the treasure - Angel Eyes, a.k.a. The Bad (Lee Van Cleef), a man whose skills at gunfighting match those of The Good, a true marksman if ever there was such a thing.

There's a terrific scene towards the end of "The Good, the Bad and the Ugly," where three men have found the gold buried in a graveyard. At exactly the same time. They each have guns pointed at each other. They could all pull their triggers and die, or kill one of the three and the two could then take the money and split it. Leone zooms in with his extreme close-ups and truly gives the audience a sense of paranoia, a sense of what it would feel like in a circumstance such as that. Sergio Leone is a great director, perhaps the most visionary of all time, and now that his films are turning up again with their intended running times, the realization strikes and sinks in.

He's an even better director than we thought he was.

5/5 stars -

John Ulmer
We're all Tuco
One of the best depictions of war, and one of the best anti-war films. The best gunfight ever filmed. Consistently witty, often moving, brutally realistically ugly, and one of the most beautiful films ever shot, set to one of the most beautiful scores. The 'spaghetti' label on the can means that these westerns will never get the consideration and respect they deserve.

If you fancy thinking a little differently about 'The Good, The Bad and The Ugly', try the following. Look past Clint Eastwood's legend-founding performance and suppose that the central character is actually Eli Wallach's Tuco, the Ugly. A gross rogue, guilty of every possible vice, Tuco is after all the character we see and hear the most, about whom we learn the most, and through whom we experience much of the action. Eli Wallach makes him comic, poignant, and plausible - certainly compared to the unrestrained darkness of Lee Van Cleef and the impossible cool of Eastwood. The film is largely Tuco's struggle to survive, and to earn a little on the side, constantly battered between Eastwood's "blond Angel" and Van Cleef's angel of death. Angels? Indeed: Tuco is ultimately human, and Tuco is all of us - grubby, corrupt, uncomfortable and slightly desperate humans, veering between the good and the bad, subject to a perplexing God and an unrelenting Devil, and just trying to muddle along.
Cinematic brilliance.
A big, bravado, bold and exquisite film for its time, Sergio Leone's "The Good, the Bad, and the Ugly" remains one of the most seminal, influential, and exciting films of all time. With its superb cast, its beautiful and wide scenery, and its superior action sequences, this film is a masterpiece. A picture that embodies the perfect personification of masculinity. A true man's picture, and one that will stand tall among most movies today.

The simple tale of how three gunslingers form an unlikely alliance of hate, in order to find $200,000 (that's $6 million by today's standards) worth of stolen gold, in a country that is ravaged by war, is elegantly told by the maestro of westerns, Sergio Leone. For its time, Spaghetti Westerns were not considered genuine art, but rather, entertainment instead. Sergio Leone is probably the only director who is smart enough to make his film compelling to mainstream and critical audiences alike. His direction is smart and strong, and you see how well his direction is as per the amount of manpower and creativity in handling the action sequences. The action sequences are raw, crisp, grand, explosive, and taut. Especially the Standoff at the end. Leone should probably be awarded a Nobel Prize for that scene alone. Leone is probably why westerns are popular among the youth of the '60s, hell, he probably influenced would be filmmakers at the time. I know of one who was particularly influenced by Leone's direction - Quentin Tarantino himself said that this film is the best-directed film of all time. And yes, although the film may be long, there's not a scene that goes by that you'll say boring.

Clint Eastwood - The Good. The legendary Man With No Name. His character perfectly embodies with the true meaning of masculinity. As per in his previous films, he plays a mysterious gunslinger, one with a deadly aim and a strong sense of honor and pride. He is the perfect hero, and this film stands out as one of Clint's, if not his, best film ever.

Lee Van Cleef - The Bad. Here, instead of the fatherly Doug Mortimer in the previous "For A Few Dollars More", we get the stone-cold assassin Angel Eyes. Van Cleef plays him chillingly to the bone. He is wicked, he is ruthless, he is cruel. He would kill anyone, be it his targets or even his own client.

Eli Wallach - The Ugly. He is Tuco, a criminal on the loose. He is the most interesting character in the film, as we see the ugly side of man through him. He is two-faced, slimy, arrogant, and hate-able. But that what makes his character great. There is no substitution for Wallach, he will always be Tuco no matter what.

The cinematography is absolutely beautiful. We get to see the backdrop of the glorious Wild West and the battlefields of war in all its unfaded glory. Even the cemetery scene is filmed extremely well. The music - that's another thing. The music, is masterful, so sublime, so grandiose, and so haunting. It's mesmerizing, really, to hear the great Ennio Morricone's score while looking at the actions of people, it perfectly matches the film. Not forgetting to mention the iconic and haunting theme song that's embodied itself in popular culture even until today.

So, yes, this is truly cinematic brilliance. If you want to see the film in all it's glory, I reckon you readers get the extended cut DVD of the film. It's Leone's true version of this film, and it would do you some good to see his true film, not to mention the remastered picture and 5.1 sound so that you can hear the gunshots and explosions in all its fury. Make no mistake readers, this film is one of the most iconic movies ever made, and it can be proud of its status as "Greatest Western Ever Made". Now if only movies like these were made today as well...

Overall rating: 10/10

Rich Visual Epic
Long before Clint Eastwood would wince his way into the ham-hock Hall of Fame as Over-Rated Actor and God-Awful Director he was used to perfection by Director Sergio Leone in his spaghetti-Western masterpiece, "The Good, The Bad, & The Ugly."

This is a film so visually rich it reads more like a novel than a motion picture. Leone gets off on the grit: the beard-stubble, the sun-chapped lips, battered hat-brim and dirty leather boot. Not only is this the greatest Western ever made it may also stand as the greatest visual story ever committed to film. Leone is so genuinely fascinated by this period and its mythology that every frame is full and compelling... action occurs in both sprawling long shots and lightning bursts of quick-cut gunshot. Eli Wallach is amazing as Tuco, the human rodent, and Ennio Morricone's haunting score adds tremendous humanity to the proceedings.

I have to admit I am not a fan of most American Westerns... the vast majority of them seemed to be disposable action flicks shot at the same five ranches using the same twelve horses. "The Good" elevates the Western to a higher art form than even John Ford or Howard Hawks' greatest films... it would serve as the visual blueprint for almost every Western to follow, and I highly suggest watching the movie with a glass of cool water nearby... you'll be thirsty.

The perfect Saturday-afternoon movie (but be sure to watch in Letterbox!) "The Good, The Bad & The Ugly" is an enduring cinematic classic not to be missed... one of the greats.

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.
Two cents
This is one of the few films truly deserving of the term masterpiece. Whether you view your films looking for great entertainment or great art, "The Good, the Bad, and the Ugly" will surely not fail you. Just about every aspect of the film is flawless, from the stylish direction of Sergio Leone, the memorable score by Ennio Morrecone, and a trio of ultra cool yet accomplished lead performances (Clint Eastwood, Eli Wallach, Lee Van Cleef).

Some have complained this film is overlong. Nothing could be further from the truth. It is never once remotely boring or slow paced, and an epic length is needed to tell such a good story. The length is just perfect. Sergio Leone was a master craftsmen and managed to create awe-inspiring action films as good as Kurosawa. This will always be his masterpiece, even though there are many who prefer "Once Upon a Time In the West". While that is a great film also, it never managed to stick out in my mind as well as this one does. The beauty of the closing sequence of the search for gold in the graveyard manages to amaze me with every viewing.

Special note needs to go to the acting. As the Good, Clint Eastwood turns in one of his finest portrayals. Dangerous yet showing many redeeming qualities, its obvious Eastwood didn't want this to be a one dimensional character. He succeeded. As the Bad, Lee Van Cleef shows why he was such a criminally neglected character actor. As bad ass as Lee Marvin and yet as good an actor as Humphrey Bogart, its a shame he was stuck in mostly grade-b roles. And as the Ugly, Eli Wallach is also superb. Slimy, greasy, throughly unlikable yet oddly compelling all the same.

I can't forget to mention Ennio Morrecone's score. It has become one of the most instantly recognizable in popular culture, and for good reason. Its instantly memorable and suits all the action on screen perfectly.

If you haven't seen "The Good, the Bad, and the Ugly", well, what are you waiting for? Its one of the few films that is truly essential. Hell, even the rest of IMDb seems to agree with me. (10/10)
Spaghetti Masterpiece
The Good, The Bad and The Ugly has become a metaphor for the relentless and ruthless pursuit of wealth (the pot of gold at the end of the rainbow) and the victims and victors (mostly victims) it produces along the way. The beauty of this film is that it does not take itself too seriously, it is a precursor to movies like "Sin City" , "Natural Born Killers" and "No Country for Old Men" that have a comedic and "matter of fact" feel to the graphic violence. Plus the musical score and cinematography are excellent. Who would of thought that a "spaghetti western" would become such an honoured classic movie masterpiece? Clint Eastwood, Eli Wallach and Lee Van Cleef all play characters that are right out of a Greek tragedy who represent different aspects of society. Watch, enjoy, and don't take the movie too seriously, that's how I believe the director wanted the audience to watch it.
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