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Il buono, il brutto, il cattivo
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The Good, the Bad and the Ugly (1966) More at IMDbPro »Il buono, il brutto, il cattivo (original title)

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The Good, the Bad and the Ugly -- Set during the Civil War, three disparate drifters, including Clint Eastwood as the iconic "Man With No Name," search for a Confederate cash box containing $200,000, which is hidden in a distant cemetery in an unmarked grave.
The Good, the Bad and the Ugly -- Trailer for this Clint Eastwood classic


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Luciano Vincenzoni (story) &
Sergio Leone (story) ...
View company contact information for The Good, the Bad and the Ugly on IMDbPro.
Release Date:
23 December 1966 (Italy) See more »
They formed an alliance of hate to steal a fortune in dead man's gold. See more »
A bounty hunting scam joins two men in an uneasy alliance against a third in a race to find a fortune in gold buried in a remote cemetery. Full summary » | Full synopsis »
Plot Keywords:
1 win See more »
User Reviews:
Primal honesty and morality See more (760 total) »


  (in credits order) (verified as complete)

Eli Wallach ... Tuco

Clint Eastwood ... Blondie

Lee Van Cleef ... Sentenza / Angel Eyes
Aldo Giuffrè ... Alcoholic Union Captain (as Aldo Giuffre')

Luigi Pistilli ... Father Pablo Ramirez
Rada Rassimov ... Maria
Enzo Petito ... Storekeeper
Claudio Scarchilli ... Mexican Peon
John Bartha ... Sheriff (as John Bartho)
Livio Lorenzon ... Baker
Antonio Casale ... Jackson / Bill Carson
Sandro Scarchilli ... Mexican Peon
Benito Stefanelli ... Member of Angel Eyes' Gang
Angelo Novi ... Monk
Antonio Casas ... Stevens

Aldo Sambrell ... Member of Angel Eyes' Gang
Al Mulock ... One-Armed Bounty Hunter (as Al Mulloch)
Sergio Mendizábal ... Blonde Bounty Hunter (as Sergio Mendizabal)
Antonio Molino Rojo ... Capt. Harper (as Molino Rocho)
Lorenzo Robledo ... Clem

Mario Brega ... Cpl. Wallace
rest of cast listed alphabetically:

Chelo Alonso ... Stevens' Wife (uncredited)
Fortunato Arena ... 1st Sombrero Onlooker at Tuco's 1st Hanging (uncredited)
Román Ariznavarreta ... Bounty Hunter (uncredited)
Silvana Bacci ... Mexican Girl with Blondie (uncredited)
Frank Braña ... Bounty Hunter #2 (uncredited)
Amerigo Castrighella ... 2nd Sombrero Onlooker at Tuco's 1st Hanging (uncredited)
Saturno Cerra ... Bounty Hunter (uncredited)
Luigi Ciavarro ... Member of Angel Eye's Gang (uncredited)
William Conroy ... Confederate Soldier (uncredited)
Tony Di Mitri ... Deputy (uncredited)
Alberico Donadeo ... Townsman (uncredited)
Attilio Dottesio ... 3rd Sombrero Onlooker at Tuco's 1st Hanging (uncredited)
Veriano Ginesi ... Bald Onlooker at Tuco's 1st Hanging (uncredited)
Jesús Guzmán ... Pardue the Hotel Owner (uncredited)
Víctor Israel ... Sergeant at Confederate Fort (uncredited)
Nazzareno Natale ... Mexican Bounty Hunter (uncredited)
Ricardo Palacios ... Bartender in Socorro (uncredited)
Antonio Palombi ... Old Seargent (uncredited)
Romano Puppo ... Member of Angel Eyes' Gang (uncredited)
Antoñito Ruiz ... Stevens' Youngest Son (uncredited)
Aysanoa Runachagua ... Pistolero Recruited by Tuco in the Cave (uncredited)
Enrique Santiago ... Mexican Bounty Hunter (uncredited)
José Terrón ... Thomas 'Shorty' Larson (uncredited)

Directed by
Sergio Leone 
Writing credits
Luciano Vincenzoni (story) &
Sergio Leone (story)

Agenore Incrocci (screenplay) (as Age) &
Furio Scarpelli (screenplay) (as Scarpelli) &
Luciano Vincenzoni (screenplay) &
Sergio Leone (screenplay)

Mickey Knox (English version by)

Produced by
Alberto Grimaldi .... producer
Original Music by
Ennio Morricone 
Cinematography by
Tonino Delli Colli (director of photography)
Film Editing by
Eugenio Alabiso 
Nino Baragli 
Production Design by
Carlo Simi 
Costume Design by
Carlo Simi 
Makeup Department
Rino Carboni .... makeup artist
Rino Todero .... hairdresser
Production Management
Fernando Cinquini .... production manager
Aldo Pomilia .... production supervisor
José Antonio Pérez Giner .... production manager
Gray Frederickson .... production manager: USA (uncredited)
Second Unit Director or Assistant Director
Fabrizio Gianni .... assistant director
Giancarlo Santi .... assistant director
Art Department
Carlo Leva .... assistant art director
Sound Department
James Alfaro .... second engineer (2003 extended English-language version)
Vittorio De Sisti .... sound engineer
Bob Lacivita .... re-recording sound mixer (2003 extended English-language version)
Preston Martin .... second engineer (2003 extended English-language version)
Elio Pacella .... sound engineer
Alan Porzio .... adr editing (2003 extended English-language version)
Alan Porzio .... adr recording (2003 extended English-language version)
Nathan Scruggs .... second engineer (2003 extended English-language version)
Burton Sharp .... ADR voice casting (2003 extended English-language version)
Fausto Ancillai .... sound mixer (uncredited)
Special Effects by
Eros Bacciucchi .... special effects
Antonio Baquero .... special effects assistant (uncredited)
Giovanni Corridori .... special effects (uncredited)
Román Ariznavarreta .... stunts (uncredited)
John Landis .... stunt performer (uncredited)
Valentino Pelizzi .... stunt performer (uncredited)
Benito Stefanelli .... stunt coordinator (uncredited)
Benito Stefanelli .... stunts (uncredited)
Fabio Testi .... stunts (uncredited)
Camera and Electrical Department
Franco Di Giacomo .... cameraman
Sergio Salvati .... assistant cameraman
Angelo Novi .... still photographer (uncredited)
Editorial Department
Vrej Allahverdian .... negative cutter (2003 extended English-language version)
Joe D'Augustine .... additional editor (2003 extended English-language version)
Sharol Olson .... color timer (2003 extended English-language version) (as Sharol Olsen)
Sergio Donati .... additional dialogue (uncredited)
Neri Nazzareno .... final colorist (uncredited)
Music Department
Cantori Moderni Di Alessandroni .... choirs (as 'I Cantori Moderni' of Alessandroni)
Giuseppe Mastroianni .... recording by
Bruno Nicolai .... musical director
Bruno Battisti D'Amario .... musician: guitar (uncredited)
Italo Cammarota .... musician: ocarina (uncredited)
Cantori Moderni Di Alessandroni .... chorus (uncredited)
Francesco Catania .... musician: trumpet (uncredited)
Franco Cosacchi .... singer (uncredited)
Franco De Gemini .... musician: harmonica (uncredited)
Nino Dei .... singer (uncredited)
Edda Dell'Orso .... singer (uncredited)
E. Wolf Ferrari .... musician: English horn (uncredited)
Enzo Gioieni .... singer (uncredited)
Michele Lacerenza .... musician: trumpet (uncredited)
John O'Neill .... musician: whistler (uncredited)
Vincenzo Restuccia .... musician: percussions (uncredited)
Nicola Samale .... musician: flute (uncredited)
Gianna Spagnolo .... singer (uncredited)
Other crew
Carlo Bartolini .... production assistant
Serena Canevari .... script girl
Luigi Corbo .... production secretary
Jack DeLeon .... adr talent (2003 extended English-language version) (as Christopher Weeks)
Matt Keeslar .... adr talent (2003 extended English-language version)
Iginio Lardani .... titles (as Lardani)
Tony Munroe .... film laboratory services: Triage Motion Picture Services, Los Angeles (2003 extended English-language version)
Antonio Palombi .... production secretary
Paul Pape .... adr talent (2003 extended English-language version)
Simon Prescott .... adr talent (2003 extended English-language version)
Paul Rutan Jr. .... film laboratory services: Triage Motion Picture Services, Los Angeles (2003 extended English-language version)
David Sargent .... adr talent (2003 extended English-language version)
Burton Sharp .... adr talent (2003 extended English-language version)
André Sogliuzzo .... adr talent (2003 extended English-language version) (extended English-language version) (as Andre Sogliuzzo)
Federico Tofi .... production assistant
Tom Wyner .... adr talent (2003 extended English-language version)
Gino Baghetti .... voice dubbing (uncredited)
Cesare Barbetti .... voice dubbing (uncredited)
Gianfranco Bellini .... voice dubbing: Angelo Novi (uncredited)
Manlio Busoni .... voice dubbing (uncredited)
Rosetta Calavetta .... voice dubbing (uncredited)
Giorgio Capecchi .... voice dubbing (uncredited)
Emilio Cigoli .... voice dubbing: Lee Van Cleef (uncredited)
Luciano De Ambrosis .... voice dubbing (uncredited)
Maria Pia Di Meo .... voice dubbing: Chelo Alonso (uncredited)
Sergio Fantoni .... voice dubbing: Jesús Guzmán (uncredited)
Massimo Foschi .... voice dubbing (uncredited)
Lauro Gazzolo .... voice dubbing: Enzo Petito (uncredited)
Nando Gazzolo .... voice dubbing: Luigi Pistilli (uncredited)
Mickey Knox .... dubbing director (english language version) (uncredited)
Oreste Lionello .... voice dubbing: Antonio Palombi (uncredited)
Pino Locchi .... voice dubbing: Aldo Giuffrè (uncredited)
Pino Locchi .... voice dubbing: Antonio Casale (uncredited)
Anna Miserocchi .... voice dubbing (uncredited)
Glauco Onorato .... voice dubbing: Al Mulock (uncredited)
Luigi Pavese .... voice dubbing: Antonio Casas (uncredited)
Nino Pavese .... voice dubbing: John Bartha (uncredited)
Bruno Persa .... voice dubbing: Victor Israel (uncredited)
Giorgio Piazza .... voice dubbing (uncredited)
Mario Pisu .... voice dubbing: Livio Lorenzon (uncredited)
Giuseppe Rinaldi .... voice dubbing: Antonio Molino Rojo (uncredited)
Carlo Romano .... voice dubbing: Eli Wallach (uncredited)
Enrico Maria Salerno .... voice dubbing: Clint Eastwood (uncredited)
Rita Savagnone .... voice dubbing: Rada Rassimov (uncredited)
Stefano Sibaldi .... voice dubbing (uncredited)
Vinicio Sofia .... voice dubbing (uncredited)
Sergio Tedesco .... voice dubbing: Nazzareno Natale (uncredited)
Massimo Turci .... voice dubbing (uncredited)
Renato Turi .... voice dubbing: Mario Brega (uncredited)
Renato Turi .... voice dubbing: Sergio Mendizábal (uncredited)
Clint Eastwood .... special thanks (2003 extended English-language version)
Alberto Grimaldi .... special thanks (2003 extended English-language version)
Eli Wallach .... special thanks (2003 extended English-language version)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Il buono, il brutto, il cattivo" - Italy (original title)
"The Good, the Ugly, the Bad" - USA (literal English title)
"The Man with No Name 3: The Good, the Bad and the Ugly" - International (English title) (alternative title)
See more »
161 min | France:186 min (dubbed version) | Spain:182 min | 179 min (2003 extended English version) | Finland:142 min (1968) (cut version) | UK:148 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Argentina:16 | Australia:R (original rating) | Australia:MA (re-rating) (2003) | Brazil:14 | Brazil:Livre (DVD rating) | Canada:14A (DVD rating) (Two-Disc Special Edition DVD) | Canada:PG (Manitoba/Ontario) | Canada:A (Nova Scotia) (original rating) | Canada:14+ (Quebec) (original rating) | Canada:18 (Nova Scotia) (extended version) (2003) | Canada:G (Quebec) (re-rating) (2003) | Denmark:15 (DVD rating) | Finland:K-16 (uncut) (1984) | Finland:K-16 (cut) (1968) | France:-12 (DVD rating) | France:U (orginal rating) | France:U (re-rating) | Germany:16 (DVD release) | Iceland:16 | Ireland:18 (original rating) | Ireland:15 (re-rating) | Italy:VM14 | Netherlands:12 (DVD rating) | Netherlands:18 (orginal rating) | New Zealand:R13 (Special Edition DVD) | New Zealand:M (video rating) | Norway:15 (DVD rating) | Norway:16 (1982) | Peru:14 | Portugal:M/12 (DVD rating) | Singapore:PG | South Korea:12 | Spain:13 | Sweden:15 (cut) | UK:18 | USA:Not Rated (DVD rating) (Two-Disc Special Edition DVD) | USA:Approved (PCA #21628) (Suggested for Mature Audiences) | USA:TV-14 (cable rating) | USA:R (re-rating) (1989) | USA:M (re-rating) (1969) | West Germany:18 (nf) (original rating) | West Germany:16 (nf) (re-rating)

Did You Know?

Sergio Leone originally titled his story "The Magnificent Rogues" and "The Two Magnificent Tramps," but impulsively changed it during a meeting in which he was pitching the story to United Artists executives Arnold Picker and Arthur Krim. The improvised new title amused them both, and they agreed to put between $1.2 and $1.6 million to make it and retain North American distribution rights.See more »
Continuity: When Tuco enters the gun shop, he hangs the "CLOSED" sign at a downward-right angle on a nail on the back of the front door. As he exits the shop, the "CLOSED" sign is angled slightly down to the left.See more »
[first lines]
Stevens:You're... from Baker?
[Angel Eyes is silent, eating a bowl of stew and staring at him]
Stevens: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]
Stevens: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. I can't tell Baker what happened to the money. Go back and tell him that!
See more »
Movie Connections:
Referenced in Little Red Riding Hood (2009/I) (V)See more »
The Story Of A SoldierSee more »


Is the cemetery of Sad Hill a real location?
What is a "spaghetti western"?
Why does a dog appear in several of the scenes?
See more »
24 out of 25 people found the following review useful.
Primal honesty and morality, 26 December 2007
Author: steve freeman from Philadelphia

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.

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