Amiable, unassertive Scott Mary picks up the trash, cleans the toilets, sweeps the floors in the town of Clifton. Then a gunfighter comes to town. He offers advice and guidance to Scott who... See full summary »
Lee Van Cleef,
After Custer and the 7th Cavalry are wiped out by Indians, everyone expects the worst. Capt. Nathan Brittles is ordered out on patrol but he's also required to take along Abby Allshard, ... See full summary »
El Chuncho's bandits rob arms from a train, intending to sell the weapons to Elias' revolutionaries. They are helped by one of the passengers, Bill Tate, and allow him to join them, unaware... See full summary »
Gian Maria Volonté,
Several pillars of society have robbed an Army safe containing $100,000 so they can buy the land upon which the coming railroad will be built. But they haven't reckoned on the presence of ... See full summary »
Lee Van Cleef,
In the opening scene a lone man walks, behind him he drags a coffin. That man is Django. He rescues a woman from bandits and, later, arrives in a town ravaged by the same bandits. The scene for confrontation is set. But why does he drag that coffin everywhere and who, or what, is in it? Written by
Michael Lawn <email@example.com>
Django (Franco Nero The Fifth Cord, Hitch-Hike) is a gristled man-of-action who strolls the desert dragging his coffin of hell behind him. Django sets up shop one day at the local whorehouse of a veritable ghost town set up between the two warring factions of Major Jackson (Eduardo Fajardo Nightmare City, Oasis of the Zombies) with his red hooded militia and General Hugo (José Bódalo Companeros) with his Mexican ex-patriots. Django's no nonsense style quickly puts him smack in the middle of the fun as secrets are revealed and sides are played against each other.
Sergio Corbucci (Super Fuzz) directs this classic Italian spaghetti western. The script (while being pretty typical of the genre) manages to make Django a classic antihero thanks for the most part to Franco Nero's portrayal. The script's lack of originality doesn't stop it from having some clever set-pieces, nasty violence and even a bit of dark humor (some of my favorite sequences: the clearing of the whorehouse "Don't Touch my coffin", the "ear" scene and the Mexican skeet shoot). The music is wonderful (topped of by a fun theme song sung by someone trying to channel Elvis). The cast of Italian regulars nail their parts with mucho gusto. Any fan of violent westerns Italiano-style should belly up to the bar and give Django's coffin of wonders a watch. But don't mess with it
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