The story of Henry Hill and his life through the teen years into the years of mafia, covering his relationship with wife Karen Hill and his Mob partners Jimmy Conway and Tommy DeVitto in the Italian-American crime syndicate.
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 ... Written by
For the scene where Angel Eyes interrogates Maria the prostitute for information about Bill Carson, Lee Van Cleef was appalled by the fact that he was required to actually hit Maria (played by Rada Rassimov), complaining "I can't hit a woman." Rassimov replied with, "Don't worry. I'm an actress. Even if you slap me for real, it's no problem," but Van Cleef further stated, "I know, but I can't!" As a result, a stunt double was used for shots where Rassimov was slapped, which were intercut with shots of Van Cleef himself. As he later put it: "There are very few principles I have in life . . . one of them is I don't kick dogs, and the other one is I don't slap women in movies". See more »
When the two armies battle at the bridge, the Confederates are using the flag with the blue criss-cross on the red field. This is not the Confederate national flag, rather it is the banner of Gen. Robert E. Lee's Army of Northern Virginia. It would have been in battles in the east, not in the west. See more »
You're... from Baker?
[Angel Eyes is silent, eating a bowl of stew and staring at him]
Tell Baker that I told him all that I know already and I want to live in peace, understand? That it's no use to go on tormenting me! I know nothing at all about that case of coins.
[Angel Eyes stops eating and looks interested]
Now that gold has disappeared, but if he'd listened we could have avoided this altogether. I went to the Army court; there were no witnesses. They couldn't uncover any more....
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The Good, the Bad and the Ugly or the Good, the Better and the Best, as I prefer calling it, is a bizarrely sublime and a uniquely aesthetic masterpiece. The actors in title roles have given such extraordinarily superb performances, that it would be impertinent and disparaging to merely regard their swell work as acting. In fact their brilliant portrayals have immortalized Blondie, Sentenza/ Angel Eyes and the enigmatic Tuco. Lee Van Cleef is fiendishly unforgiving as the merciless Angel Eyes. Clint Eastwood is rugged yet suave, cocky yet adorable as laconic cigar-smoker Blondie, a role that laid the foundations of his illustrious career. But it is Eli Wallach, who steals the show with his captivating portrayal of Tuco, a portrayal that is as entrancing as it is enlightening. Wallach is amusing, capricious, nonchalant, uncanny and yet tenacious as Tuco, perturbed by his insecurities and dampened by his solitude. It is the tacit amicability between Blondie and Tuco and their mutual hostility towards the evil Angel Eyes owing to the vestiges of virtue present in them, redolent of their moribund morality, which gives the story, the impetus and the characters, a screen presence that is not only awe inspiring but also unparalleled.
Sergio Leone's magnificent and ingenious direction in synergy with Ennio Morricone's surreal music, Tonino Delli Colli's breathtaking cinematography and Joe D'Augustine's punctilious editing makes the movie, a treat to watch and ineffably unforgettable. Initially aimed to be a tongue-in-cheek satire on run-of-the-mill westerns, The Good, the Bad and the Ugly, continues to stand the test of time in its endeavor to attain apotheosis (if it hasn't attained it yet). It will always be remembered as European cinema's greatest lagniappe, not only to the Western genre, but to the world of cinema.
It's a must watch for any movie lover. 10/10
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