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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
The best cinematic meditation on greed since "Treasure of the Sierra Madre"...
Belfast-based comics writer Garth Ennis said it best: "There are two kinds of people in the world, my friend...those who dig Clint Eastwood movies...and dweebs." While I have to admit that my heart belongs to the opening act of "The Man With No Name" trilogy, "A Fistful of Dollars", there is no denial in my mind that "The Good, the Bad, and the Ugly" is actually the better film. Many directors have tried imitating it's style (including Don Siegel's substandard "Hang 'Em High" and Eastwood's own first Western offering as star/director in "High Plains Drifter"), but none have truly come close to the eccentricities on display here.

I have a suspicion that the storyline is actually based on historical fact. Consider this account from Joel Rose's "The Big Book of Thugs" under the entry of "The Reynolds Gang": They were organized in 1863 by Texans Jim and John Reynolds. They were briefly interned in a Civil War prison camp for Confederate sympathizers and after being released, began making robberies that, according to Jim Reynolds, were to help out Jefferson Davis and the Confederacy. The loot was buried somewhere in the area of Handcart Gulch and Spanish Peaks in Colarado Territory and later, after Jim Reynolds and four members of his gang had been executed by Colonel John M. Chivington of the Union Army, John Reynolds, dying from a fatal wound during a holdup, supposedly whispered out the location of his old gang's ill gotten loot. Unlike the movie version, it was never found.

Regardless of whether or not this was the actual basis for TGTBATU, it is nevertheless a film more grounded in history than a lot of it's comtemparies and, indeed, more than a few of it's successors. The Civil War is part of the backdrop, but it does so on a forgotten front of that war, the Western theater. Most high-school history classes would have us believe that nothing happened out West, but plenty did. In fact, the last skirmish of the war, if I'm not mistaken, was in New Mexico and, ironically enough, a Confederate victory.

The central of this film is greed. You don't just see it in the quest for the Confederate gold by Blondie, Angel Eyes, and Tuco. There are signs of it everywhere; in the hotel manager talking about how he'll be glad to get the Northerners in town for the money they'll bring in, Bill Carson appealing to Tuco's greed for a single sip of water, the gang of cutthroats who are systematically robbing the Confederate prisoners of their goods. Set up against the harsh desert backdrop, it exposes the ultimate folly of that greed (the best symbol of it perhaps being the cemetary where the gold is buried). A little over a decade before the Reagan era of "Greed is healthy, greed is good", this film provides the ultimate rebuttal to that argument. Greed has gotten just as many men killed, if not more, than patriotism ever did. Such a subtext makes "The Good, the Bad, and the Ugly" the cinematic child of John Huston's "Treasure of the Sierra Madre" and the precursor to Oliver Stone's "Wall Street".

As great as Leone, Eastwood, Van Cleef, and Wallach are, there is one member of this team that pushs this film into the status of greatness: score writer Ennio Morricone. Not only does he manage to write one of the most recognized theme tunes on the planet, he also adds the extra tension needed to convey the drama with the necessary oomph, the best examples being in Blondie's torturous walk across the desert, Tuco's frantic search through the cemetary (my personal favorite and so good that Lucasarts did a slowed-down version of it for their western shooter, "Outlaws"), and, of course, the final three way shoot-out. He still composes scores for many other films to this day, I've been told. A good example of his most recent work would be the 1990 version of "Hamlet" starring Mel Gibson and directed by Franco Zefferelli. But I truly doubt that he'll ever be able to top the legendary work he did here.
2000-08-26
"You may run the risks, my friend, but I do the cutting"
This week I was fortunate enough to see 'The Good, The Bad and the Ugly (1966)' (namely, the 2003 extended English-language version) in the cinema, perhaps the only place that Sergio Leone's classic Spaghetti Western can be properly appreciated. This was my second viewing – the first being in 2006, when my interest in cinema was still in its infancy – and, just as Leone's film gained status only in subsequent decades, my admiration has since grown substantially. By the early 1960s, the Western had become a tired genre, and even the best American entries {such as Ford's 'The Man Who Shot Liberty Valance (1962)'} could more closely be described as somber rather than thrilling. Leone's low-budget Italian productions breathed new life into the Western, the director's highly-stylised (and purely cinematic) film-making style tackling the recently-emerged Revisionist Western sub-genre with a cheekily-parodic sense of humour.

Though 'The Good, The Bad and the Ugly' clearly identifies each of its three protagonists with a titular adjective, the separating lines are decidedly blurred. Blondie (Clint Eastwood) is the archetypal anti-hero, a laconic, cigar-smoking bounty-hunter who makes every word, and every bullet, count. Tuco (Eli Wallach) is a slimy opportunist, a bottom-dweller whose unabashed enthusiasm – especially opposite the apathetic Eastwood – makes him an oddly-likable character. Angel Eyes (Lee Van Cleef) is a crafty, intelligent schemer, greed and contempt mixing behind those cold, steely eyes. Leon's film revolves almost exclusively around these three characters, and the American Civil War is utilised purely as a historical backdrop. As was the director's style, the film is a triumph of contrasts: an epic period of American history is used merely as a stage for an intimate battle-of-wills between three determined men with their own selfish aims.

Contrast, too, is evident through Leone's camera lens. Few directors (perhaps David Lean or Sergei Bondarchuk are his only true rivals in this field) have more inspiringly utilised the cinema screen as a canvas. Leone switches between landscapes and portraits, at times cutting unexpectedly from a distant long-shot to an extreme close-up of Eastwood's sweaty brow, his eyes narrowed and alert. I wrote in my review for 'A Fistful of Dollars (1964)' that that Leone's landscape was the human face. Unlike Ford, to whom setting was significant (one reason why he so adored Monument Valley), Leone's Westerns unfold in an anonymous landscape, dry and unremarkable and unforgiving. Colour is instead injected through Ennio Morricone's score, perhaps the most memorable ever composed for a film. The composer's contribution is uniquely cinematic, refusing to linger in the background and instead serving to overwhelm and enhance Leone's imagery.
2010-03-02
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.
1999-08-29
A true epic and one of the greatest films of all time.
I saw this movie for the first time on my tiny 15 inch screen of my TV/DVD player, and even on this minuscule format I was still simply amazed by the sheer scope of it. Now I understand and acknowledge the usual complaints against the film, namely the fact that the movie is almost three hours long with many scenes that tend to drag on for minutes with little dialog or action, however it is these scenes that make the movie the masterpiece that it is. Every shot whether it be an expansive landscape or an extreme close-up Sergio Leone draws you into his own version of the old west. A world where three men chase each other across the desert in search of 100,000 dollars worth of Confederate gold. Along the way they encounter Yankee and Confederate soldiers, Mexican bandits, bounty hunters in a journey that culminates in one of the most riveting showdowns in cinema history. What I found most interesting about this film however was the influence it obviously had on modern filmmaker Quentin Tarentino. Many of his trademarks (very memorable characters, long shots centered on a single character, intense standoffs involving multiple characters) can be found in abundance in this film as well. In fact Tarentino's Kun Fu epic Kill Bill goes so far as to barrow multiple songs from Leone's Dollars Trilogy. In the end all this adds up to make The Good the Bad and the Ugly in my opinion one of the greatest films of all time.
2007-07-02
One Of The Best Films Ever Made?
"The Good, the Bad and the Ugly" has become the ultimate iconic film. Its broad images have become a staple for all that would eventually follow from Advertising, Pop Videos to future Western productions and Horror flicks. None can or want to escape the extraordinary visual flare and style of its Director. It is just too damn fashionable. Sergio Leone's influence cannot be overstated.

The exalted position of this Spaghetti Classic is #3 in the Top 250 films ever made according to The Internet Movie Data Base. Whether this position is justified is debatable but the good news is that this Classic Film was made over 41 years ago. The Top 250 list has proved somewhat unreliable because the latest Cinema Releases are voted on in greater numbers than the Classics of yesteryear and so it reflects a very modern bias. Substandard films like Martin Scorsese's poor re-make "The Departed" or "The Bourne Ultimatum" have found themselves in the Top 100 relatively quickly.

The positive of the IMDb Top 250 list is that it is constantly evolving and it also represents the general publics take on the medium. A crowd pleaser like "The Shawshank Redemption" has found itself consistently within the Top 5 and at present is at #2. That film found its audience not in the Cinema but by word of mouth and subsequent DVD sales.

The problem as a whole is that the general public forgets the older Classic rather quickly because they hamper for the newest release. In some cases what is old is regarded with contempt.

At a dinner in Hollywood I sat next to a famous producer and his beautiful doll-like wife. We began to talk about "The Good, the Bad and the Ugly" and what an impact it has had on modern cinema. His wife stopped our conversation with the subtly of shooting a blunderbuss into the air.

"Why would you want to see that" she said, "its old!"
2007-09-10
This movie is Flawless...this movie has no parallels...this is the Best one I 'll ever see.
I want the rating meter to allow me to rate it more than 10. I love this epic movie. Patiently shot and created , it exudes a scent of eternal beauty. This is my friends every movie goer's delight. A movie which can't be bettered. Full of outrageously funny puns and comic lines; made with an audacious appetite for cinematic patience, this movie has it all.

The background score is classic. I still get charged when I see the final scenes of the movie playing to Ennio Morricone's The Trio.

Deep dialogues an unbelievably smooth screenplay this movie is perfect.

It's detractors complain that some parts are overdone and are too clichéd. Well those things hardly matter when you have Blondie, Tuco, Angel Eyes , The drunk Army Captain on screen exhibiting something completely out of this world in terms of cinematic achievement.

I have never seen a better genre in movies than westerns and in that genre this movie stands out. This movie is undoubtedly the greatest one ever made in any genre.
2010-03-04
One of the best movies ever made - will leave you breathless
Clint Eastwood returns as The Man With No Name in this final installment in Sergio Leone's epic Dollars Trilogy (or Man With No Name Trilogy). He plays Blondie (the Good), a sharp-shooter of debatable honor, iron will, and questionable motives. Leone also brings back Lee Van Cleef as Angel Eyes (the Bad), a sadistic man who always keeps his promises – as long as you pay him for it. Eli Wallach rounds out the trio as Tuco (the Ugly), a thief worried only about his own hide. The three men are held together by the wish to locate a stash of gold, its location imparted to them by a dying man. Alas, things are not so simple. The man whispers some of the information to Tuco, but only Blondie knows the true location. And so our thieves must overcome backstabbing and betrayal, as well as their mutual enemy of Angel Eyes, to reach the treasure.

Sergio Leone creates a visual masterpiece. Not even Orson Welles can hold the audience in his hands the way Leone can. The cinematography and editing are perfectly in sync, working together to mold the audience as Leone sees fit. The famous Mexican standoff, with its rapid-fire cutting and incredibly close shots, is jaw dropping, forcing you to hold your breath. And of course, the film simply could not work without Ennio Morricone's incredible (I repeat, incredible) score. Even if you don't bother seeing the movie, look up The Ecstasy of Gold on YouTube. It will leave you speechless and blow your mind.

After a disastrous experience with my first foray into Westerns (for the record, "Shane" is a horrific movie), I all but damned the entire genre to the pits of hell. But after repeatedly spying "The Good, The Bad, and The Ugly" atop film lists, I decided to give it a try. It had me on the edge of my seat, my eyes shining, my entire being entranced. In my opinion, "The Good, The Bad, and The Ugly" is one of the most spectacular movies ever made. Is it historically accurate? No. Is the plot nice and tight? Not really. But those are trivial matters in the face of what it is – an incredible spaghetti western. And as far as I am concerned, it is one of the best movies ever made.
2008-11-25
not for me
I'm not a fan of westerns, but feel I've shoved myself in a sci fi horror orientated corner of ignorance so am slowly working my way through the IMDb top 250 in an attempt to broaden my horizons (and possibly catch that rare film that blows u away without expecting it) I did REALLY appreciate the level of accomplishment this film expressed. For its time the cinematic atmosphere of comedy, emotion and gritty drama was clearly above average for even now, and the acting skills were brilliant and really added personality.

however (and i don't think its cuz I'm a girl) this film just wasn't for me. it was very slowly paced and i didn't manage to follow or care much for the characters stories.

that said, i would definitely recommend watching it as its surely one of those films that depends heavily on personal tastes, and judging it as a western just doesn't give it the respect it warrants.
2011-03-22
Brutal, brilliant, and one of the best Westerns ever made
A sprawling Western epic that follows the adventures of three gunfighters looking for $200,000 in stolen gold, Sergio Leone's `The Good, the Bad, and the Ugly' is a masterpiece, one that continues to get better and better with each viewing. In a way, it's a morality play, weighing the consequences of good and evil, but it does so in a realistic manner. Sometimes, crime does pay, at least in the short term, and sometimes good does go unrewarded. This film probably signaled the death knell of the traditional John Wayne `White Hat/Black Hat' Western.

The three main characters make the film. Lee Van Cleef (`The Bad') is evil personified. Totally ruthless, he'll do whatever it takes to get what he wants. Clint Eastwood (`The Good') is the Man With No Name, not really `good' in a traditional sense . . . but he has a certain sense of honor and tries to do the right thing. (Watch the scene when he gives a dying Confederate soldier a puff of his cigar - powerful, and it sums up everything that the Man With No Name is all about, without saying a single word.) Eli Wallach (`The Ugly') is Tuco, and he's easily the most complex - if not the best - character in the film. All impulse and rage, Tuco spins wildly throughout the movie, stealing, lying, pretending to be Clint Eastwood's best friend in one scene, trying to kill him in another - Tuco truly represents `the ugly' side of people.

The movie is long, but there's not a wasted scene in the film. Each one slowly lets the film unfold with a certain style and grace, revealing more about each character and what's going on. The pacing is incredible, as is the direction - Sergio Leone manages to build a lot of uncomfortable tension in the film, keeping the film from ever getting predictable. Any typical Western cliché that you can possibly think of is either given a unique twist or utterly destroyed by Leone's masterful storytelling. Of special mention is Ennio Morricone's score, which is absolutely perfect. Two scenes - one in a Union prison camp, one in the climatic gunfight in the cemetery at the end of the film - are amazing on their own, but they become absolutely astonishing with combined with Morricone's powerful score.

This movie is absolutely brilliant. If you haven't seen it yet, I strongly urge to do so. Immediately. (And then, go watch `Unforgiven' . . . in a way, I think that `Unforgiven' is the sequel to `The Good, the Bad, and the Ugly - it's the story of what eventually happened to the Man With No Name.) `The Good, the Bad, and the Ugly' is easily one of the best Westerns ever made. A++
2001-04-16
Grandiose, I'll give it that
There's a meandering nature about "The Good, the Bad and the Ugly" that keeps me from enjoying it as highly as I think I should. It's certainly not as tight as "For a Few Dollars More", and it really tends to drag during the desert torture and the army scenes (which pop up with surprising frequency). Even the final shootout was too much; I just wanted Leone to get on with it. It's "epic" scope just seems to topple in on itself.

That said, there's much to like here, and the built-up acclaim over the years is certainly merited. For one, the framing and composition in this film are amazing. Not sure I've seen such effective use of widescreen in another western. Leone knows how to make the western landscapes eye- catching. Each of the film's stars fits his character well (Wallach, especially, who just seems to relish Tuco's streetrat sense of guile). And it's just one double-cross after another, right up until the very end. It's fun from that standpoint. Just overinflated.

7/10
2014-06-09
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