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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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"The Good, The Bad, And The Ugly" is far from being ugly
I was never really a fan of westerns until I saw The Good, the Bad, and the Ugly. This is one of the greatest movies ever. Sergio Leone is a master director, who has also made Once Upon a Time in America, and Once Upon a Time in the West. He is probably the best visual director of all time. He films the cowboys like they are a part of the vast western landscape themselves. His pacing is patient, which works very well in his films. Some criticize his movies for moving too slow, but that allows for much build-up and some scenes and sequences that you will never forget. Clint Eastwood is the ultimate western gangster in this movie. This is where he first truly showcased his brilliance as an actor. If you have not seen this film for some strange reason, get up and watch this masterpiece before you die. Did I mention the score? It is in the same league as the score for Jaws. Intense. Powerful. Mesmerizing. Beautiful.
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.
The best movie ever made
Sergio Leone's massive epic is one of my favorite films, pitting a manic Eli Wallach as Tuco against an autistic Clint Eastwood (Leone: Eastwood has two acting emotions, with hat on and hat off). Lee Van Cleef hovers around the the center of the film menacing everyone, although his performance fades between the tension of Wallach and Eastwood. Ostensibly a story about the search for buried gold, GBU undercuts its exploitative surface by giving us almost Beckett-like relationship between a man that is wanted for murder and his partner who turns him in for the reward and then shoots the rope off his neck, a droll comment on human existence if there ever was one. Other existential moments occur in this rich film, such as the beautiful song the confederate prisoners sing while Angel-Eyes tortures Tuco, and the essay on the nature of the futility and pointless brutality of war appears when Tuco and Blondie witness a battle on a bridge they must cross.

Chaotic, cynical, sentimental, violent, GBU resembles an opera more than anything. Amazingly, when this film first appeared in 1967, most critics wrote it off as one more Spaghetti Western, not seeing the fatalism, the grandeur, and the comedy of this world classic. How could you watch a film with a score like Morricone's finest and not be impressed? Don't mistake this film for realism and criticize it on that basis, as some reviewers have done. This is not a documentary-style Western (for that see McCabe & Mrs. Miller), but a Romance, based more in the imagination, more in symbolism, bowing to the classical westerns stereotypes and clichés.

Primal honesty and morality
After many years of barely watching any movies, I treated myself to several classics recently. And this was the best.

That I so enjoyed this movie so much came as a shock to me. I literally never before have been able to even sit through a western, which (in my admittedly limited experience) was schlock action starring John Wayne as the taciturn all-American good guy being tough and beating up the outlaws. Watching GBU, I was enthralled for the entire three hours. Twice. And if I had time, I would have watched it a third time.

The setting is typically western: a dry, dusty panorama in which men barely co-exist with each other; few wasted words; and lots of action, horses, and gunfighting in a wild west barely governed by incipient institutions of law & order – all shrouded within a morality play of good vs. bad. But what I liked so much is exactly what I hate about John Wayne westerns – the seriousness and honesty with which moral context is considered. In Hollywood, good vs. bad is as thoughtlessly superscripted as the protagonists' white and black hats. In GBU every remnant of moralizing has been ruthlessly cut.

Good, Bad, and Ugly are personified in the form of three characters: Bad ("Sentenza") is the easiest to understand. He is *very* bad, perhaps not so different from other villains, but much more sharply developed; murderous, sadistic, traitorous, and remorseless. Good ("Blondie") and Ugly ("Tuco") are more puzzling, but their labels are the key to the movie. Both Blondie and Tuco are outlaws and killers with only the barest hint of morality, but they're not evil in the same way that Sentenza is. Tuco is demonstrative, emotional, loud, wild, and unpredictable; but driven by survival rather than satanic urges. Blondie is cool, calm, rational and controlled – in many ways similar to Sentenza – but whereas Sentenza tortures, maims, kills, and lies for the hell of it, even apparently enjoys it, Blondie simply goes about his business coolly, and shows several poignant hints of empathy, decency, and a sense of justice.

GBU takes place during the Civil War and strips away the high-level political struggle of history books, leaving us with the soldier's vantage point of brutality, pointless death, and some individual decency. The politics are indecipherable from this vantage point. GBU hits this point home when our protagonists wind up in a prison camp because the oncoming gray cavalry uniforms turn out to be dust-covered blue. Later, they encounter an army fighting over a worthless bridge, suffering countless pointless deaths and casualties. Because Leone has so rigorously excised traditional off-the-shelf morality, the few instances of humanity are remarkably poignant. One such instance is when Blondie shares his coat and cigar with a dying soldier; another is when prisoners are forced – by Sentenza's orders – to play music to cover up the screams of the tortured. Sentenza apparently enjoyed the irony of beautiful sounds used for such ends; the musicians are, of course, pained by it.

That was one of many extraordinarily striking scenes. The honesty of the moral context was what I liked best about the film, but I liked everything else too. Indeed the same primal, ruthless honesty that characterizes the character development pervades the film. The music is unlike anything I'd ever heard – it's an audible version of the arid west and the tensions and lawlessness that characterize the film. Underlying the entire score is one instantly memorable theme starting off with what sounds like a screaming hyena. The story took place in New Mexico, and even though it was filmed in Spain, it really does look like New Mexico; and just as in life in the American west, the wide, breathtaking panorama tends to subordinates dialog. Indeed, it is several minutes into the film before even one word is spoken.

The plot was extremely clever – and never predictable. High level suspense is maintained for the full three hours. It was hard to imagine how it could unfold – three uncompromising outlaws in search of one buried treasure; cooperation was not in their nature, but nothing was ever done out of character. Any Western cliché that you can think of is either given a unique twist or destroyed by masterful storytelling. For example there is an utterly irreverent scene in which Tuco meets his brother, a sincere Priest, and turns platitudes upside down. The brother begins with the standard rebuke of the criminal's behavior, but Tuco punches back and says, "Where we come from there were only two ways out. You lacked the courage to do what I've done." The movie is also irreverently funny: For example, Twice Tuco gained the upper hand on Blondie and said:

"There are two kinds of spurs(?), my friend. Those that come in by the door, and (crosses himself) those that come in by the window."

"There are two kinds of people in the world, my friend. Those who have a rope around their neck and those who have the job of cutting." Later Blondie gained the advantage of Tuco and observed:

"You see in this world there's two kinds of people my friend - those with loaded guns, and those who dig. You dig." In addition to all these specific attributes, a unique and strikingly cool style infuses the entire film: long scenes of tense silences – never for an instant boring; and telling, startling close-ups and transitions. Most noteworthy was the film's climax. As the protagonists stand there with their fingers on their holsters, waiting for the first person to go for their gun(s), the transitions start out slowly, and speed up as the tension increases. As I write this, I wish I had my own copy of the film, just so I could see this scene again.

Not just a great western, but easily one of the best movies of *any* kind ever made.
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

I must admit that I had some doubts prior to seeing this movie, considering its length and some people's comments that it is slow as molasses. Well, they were mostly right about that. GB & U is indeed a movie that does not always move very fast, and it does take a little getting used to. Yet if you manage to look past the slowness, this is easily one of the best movies ever made.

This is one of those movies where nearly everything comes together in exactly the right way. First of all, there is a wonderful cast of characters. Clint Eastwood is at his best as the 'Good' (even though he's not strictly a good guy but more a bad guy with an honor code), Lee van Cleef is so truly evil that you'll long for his downfall with a passion, and Eli Wallach steals the show as the 'Ugly', turning him into a character that you'll root for even though he's quite clearly the least trustworthy character you'll ever meet.

These wonderful characters engage in a quite complex plot full of twists and turns, as they are constantly trying to outwit and outshoot each other. There's quite a lot going on and in spite of the fact that the tone of the movie is actually fairly light (there is some truly good humor), it's actually a fairly good exploration of human nature and the lengths to which people will go to achieve their goals.

And then, there's the music of course. Ennio Morricone has always composed some very distinct and recognizable tunes, which unfortunately were not always that great by themselves. The music here, however, is absolutely one of the most memorable scores ever.

Of course, the cinematography is wonderful as well. The production values here seem to be a lot higher than in some previous Leone movies, and GB & U contains plenty of memorable shootouts that will truly keep you on the edge of your seat. At the same time, the gunmen here seem not nearly as invincible as in some other Leone movies, which greatly adds to the suspense.

As I said before, nearly everything comes together in this movie. Sure, it might be a bit slow, but it's got a great story of good versus evil, told in an impressive and truly epic way, with memorable characters and shootouts everywhere. Highly recommended
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 . . .
Never before has two hours and forty minutes whipped by so fast
"The Good, the Bad, and the Ugly" is one of the pinnacles of my experiences of a moviegoer. Not only is it my all-time favorite Western and therefore, one of my all-time favorite movies regardless of genre, but is a landmark in the history of cinema itself. First of all, it is proof that oftentimes the simplest ideas are the best ones. The plot is fairly simple: three men try to reach a buried fortune of Army gold coins while the Civil War erupts around them. The story is even simpler and yet the audience gets wrapped around in it as 160 minutes and those 160 minutes just seem to whip by so fast that when the movie does end, we're craving for more. The film is also evidence that the Western is not a dying genre, for this landmark film from Italian director Sergio Leone has aged like wine; time has done nothing to varnish its style and authority. And it is also proof that Spaghetti Westerns, which are low in budget and oftentimes flamboyant and over-the-top, can be art, too.

This was the third and final time that Clint Eastwood worked with Sergio Leone. He returns again as the mysterious Man with No Name: a cigar-chugging bounty hunter quick on the draw and minimal in emotions. Here is the pinnacle of the vintage Eastwood as an actor, where he could manufacture a character by doing little other than squinting and hissing some sparse dialogue. Eastwood's in prime form here. The movie also features Lee Van Cleef as Angel Eyes, a mercenary/bounty hunter/Army colonel, the exact opposite of the warm-hearted character he played in the previous Western "For a Few Dollars More." But oddly enough, even though Eastwood gets top billing, the central character is Tuco, played with outstanding charisma and sharp energy by Eli Wallach. Wallach had played bad guys and anti-heroes before, but here as the bumbling, deliberately comical, greedy, self-centered, and yet somehow likable and personable Tuco, he steals the show. The movie stays interesting as these three men change partnerships with each other, whenever it seems convenient and when it'll bring them closer to the 200,000 dollars in stolen coins. These three characters, wonderfully written and acted, are an important column holding this film's roof up.

Sergio Leone was very much the David Lean of Italy. He could set up beautiful landscape shots and cinematography tricks like few others could. That's part of the reason why so little can happen for so long and yet the tension mounts higher than most. The way he also contrasts long shots with close-ups and montages it all is sheer brilliance. His timing is also exquisite. He knows how long to go, when to cut, when to produce a long take, when to crop a short one, and so on and so forth.

And I cannot leave out Ennio Morricone's music, which is even more famous than the movie itself. His main theme, which has been used in parodies and cultural references for more than forty years, is justifiably famous. But whereas it is usually used in parodies to produce a comical effect, here it fits the mood of the picture down to the bone. There's not a single weak cue of music in this marvelous soundtrack.

But what's most remarkable about this movie is that it sustains itself for the entirety of its 160-minute length and throughout most of it, very little happens. There are long stretches - minutes upon minutes - where virtually nothing happens. Oftentimes there isn't any music. It's not just the suspense of waiting for Leone's trademark bursts of action; the cinematography and the montage and the directing are so taut and winded together that the audience cannot even force themselves to look away. And if one seeks proof, they have to look no further than the film's climax. Of course because it's a Western, it will have an obligatory final showdown. But consider this showdown. We have three men facing each other down and it goes on for four minutes. Four minutes and the actors are hardly even moving. The only real movement is the camera, which is locked-down, but montaging amongst what is very nearly static images. Coupled with Ennio Morricone's heart-thumping music, this showdown, where very little happens for so long, comes across as one of the most electrifying climaxes in cinema history. Sure the music helps a lot, but it's the directing by Sergio Leone that really makes this scene so intense.

"The Good, the Bad, and the Ugly" is most definitely one of the most important films of all time and it certainly has earned its immortality in the realm of the cinema. It is undoubtedly the greatest Spaghetti Western of them all and Sergio Leone's masterpiece. The first film is this trilogy, "A Fistful of Dollars" was nothing more than an off-beat, but fun remake of "Yojimbo." The second film was also entertaining and fun. But the third movie is a masterpiece. Even at a great length of 160 minutes, and having most of it consumed by silence and stillness, the film never falters to goes on for too long. It goes on and when it does at last end, the audience is left craving for more. They can satisfy themselves in two ways: a) seeking out Leone's director's cut, which is about twenty minutes longer and b) watching the movie again, something I have done and will continue to do many, many times.
The best of the three and the best western ever.....
I spent all day watching all three movies and this one beats the other two and near every other western out there. (with a few exceptions...) Usually, Spaghetti westerns annoy me do to the cheesy noises, unrealistic shooting, and lots of bore. But this movie was different. Unlike the other two, this movie had lots of simple comedy. (Most from Eli Wallach's silliness and stupidity as Tuco adds a perfect sense of comic relief and Clint Eastwood's slickness and intelligence as Blondie makes him so.... cool. Lee Van Cleef does a perfect job as the villain giving a sinister performance. Instead of the fact that the slow parts in the first two movies were boring, this movie took advantage of long shots for suspense and to get a sense of things which is a great directing tool. (Kudos to Sergio Leone) I can surely see why this is #4 on the IMDb top 250. It feels more realistic than the other two movies. No whistling noises when things fall, suspenseful music(and very famous), stellar acting, and nice shoot outs. One of my favorite Clint Eastwood movies and one of my favorite westerns ever! A+. 10/10 Watch this one right away. (I recommend watching the new edition DVDs, the white cases, because the quality is better, the sound is great, and newer, and the dubbing is near impossible to spot.) Don't miss this or you will miss one of the greatest, classic movies ever made.
An Old Idea Reworked
The basic plot of THE GOOD, THE BAD AND THE UGLY has been done before. In fact, the film inverts the premise of TREASURE OF THE SIERRA MADRE. In TREASURE, the three men searching for the gold worked as a team. The team broke down because of external pressure (the bandits) and internal pressure (Fred C. Dobb's paranoia). In THE GOOD, THE BAD AND THE UGLY, the three men searching for the gold never team up. They are kept apart by internal pressure (the fact that one of them is a murdering sadist) and external pressure (the ebb and flow of the Civil War).

In TREASURE, only one member of the team knew how to find gold. Here, the location of the gold is a secret. Two men know opposite halves of the secret. Blondie (Clint Eastwood) knows a name on a grave. Tuco Ramirez (Eli Wallach) knows the name of the cemetery. Their shared secret forces the two men into an uneasy alliance. The third seeker is Angel Eyes (Lee Van Cleef), a professional killer. He has learned about the gold from one of his victims.

The opening and Ennio Morricone's unique theme music set the tone: this will be a harsh, gritty, offbeat film. Freeze-frames tell us which character will be good (Blondie), which will be bad (Angel Eyes) and which will be ugly (Tuco). The difference between the three men isn't motive, since they all want the same thing. What sets them apart from each other is what they are willing to do to get it. Angel Eyes will torture and kill anybody who gets in his way. Tuco is a bully and a loudmouth, but he only kills in self-defense. Blondie is quiet and intelligent, a planner who carefully works out every detail well in advance.

THE GOOD, THE BAD AND THE UGLY is set in a harsh, unforgiving landscape. The quest for the gold takes our characters through a desert, a prison camp, a war-ravaged frontier town, a Civil War battle and, finally the cemetery where the inevitable showdown happens. The few outposts of civilization huddle against a vast, imposing wilderness. In such places, even the best man has to be a little bit bad and ugly to survive.
See Also
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