A mysterious gunfighter named Django is employed by a local crooked political boss as a hangman to execute innocent locals framed by the boss, who wants their land. What the boss doesn't ... See full summary »
Former gunfighter Django has become a monk and abandoned his violent former ways. His daughter is kidnapped by rogue Hungarian soldiers using slave labor to run a silver mine. Django casts ... See full summary »
While a Mexican revolutionary lies low as a U.S. rodeo clown, the cynical Polish mercenary who tutored the idealistic peasant tells how he and a dedicated female radical fought for the soul... See full summary »
Arms dealer Yolaf Peterson aims to make a sale to guerilla Mongo, but the money is locked in a bank safe, the combination known only to Professor Xantos, a prisoner of the Americans. Yolaf ... See full summary »
Half-breed Keoma returns to his border hometown after service in the Civil War and finds it under the control of Caldwell, an ex-Confederate raider, and his vicious gang of thugs. To make ... See full summary »
It's 1915. Former gunslinger Django is hired as a movie consultant in Hollywood. There he runs afoul of racketeers, forcing him to flee to a town policed by violent radicals who take influence from Griffith's "Birth of a Nation".
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>
At least in Europe, this other spaghetti western variation of Kurosawa's Yojimbo was probably even more influential than the film that created the genre, A Fistful of Dollars, with countless imitations, rip-offs, sequels, remakes. The title hero is again very different from traditional Western heroes, but this time he is a much more mystical (almost religious) figure than even the man with no name, and the places he goes to are even dirtier and more desperate and downtrodden than any place we would find in a Leone Western.
The impressive opening sequence shows Django dragging a coffin behind him through a muddy and featureless landscape, accompanied by Bacalov's title song (not Morricone, for a change), heading for his first battle. The coffin, his dark coat, and the mystique around him make him appear like an angel of death, invoking associations with the Red Death character in Roger Corman's Masque of the Red Death. Django is not quite as untouchable and supernatural, but the body count in his trace is comparable.
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