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 <firstname.lastname@example.org>
The Major's men wear red scarves over their faces to hide the fact that, because so many extras were otherwise employed on other pictures in the area at the time, they were left with only the "ugliest" ones, who were deemed not menacing enough. See more »
The belt feeding the cartridges into Django's machine gun is far too short for the number of rounds being fired in any of the scenes it is used in, and the belt isn't being fed through the firing mechanism. See more »
[preparing to kill Django]
Django, I think you should make a last request! I'll be glad to oblige you any way I can. Start praying if you like, I don't mind. It's a smart thing to do when you know that death is coming for you. How come you haven't you got your burial suit with you? We'll have to leave you to the vultures! So now, begin your prayer...
[shoots a side of Mercedes Zaro's cross]
I can't hear ya!
[reloads and fires]
[reloads and fires twice]
Can you hear THIS?
[...] See more »
Sergio Corbucci's "Django", as well as his "The Great Silence" are two massively underrated spaghetti-westerns that co-founded the genre, along with Sergio Leone's Dollars-trilogy. Okay, this no "Once Upon a Time in the West" when it comes to atmosphere or plotting, but it is a magnificently mounted action ride with an utterly cool lead hero and an enormous body count. "Django" remained banned in several countries for a long time because of its explicit, comic-book like violence, and you'll see that this wasn't without reason, as the bad guys get slaughtered by the dozen in a good old-fashioned gunslinger way. The movie opens terrifically, with a sleazy title song and vicious images of a lonely cowboy wandering through the Southern wastelands with a coffin in tow. The man is Django and his coffin contains whatever he requires to fulfill his difficult goal: single-handedly finishing the war between the racist Major Jackson and Mexican bandidos by annihilating them all. Corbucci implements a straightforward, no-nonsense filming style with some great visuals and very creative camera angles. There are some ingenious aspects (Django's act of vengeance with molested hands) as well as some delicious clichés moments (wrestling prostitutes, extended bar fight sequences...). This film may not be a very intellectual form of entertainment, but it sure is fun and produced with a certain degree of class.
Followed by a numberless amount of sequels, rip-offs and wannabes that are hardly worth purchasing. Stick to the original and have a blast!
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