| Jean-Louis Trintignant | ... | Silence | |
| Klaus Kinski | ... | Tigrero / Loco | |
| Frank Wolff | ... | Sheriff Burnett | |
| Luigi Pistilli | ... | Pollicut | |
| Vonetta McGee | ... | Pauline | |
| Mario Brega | ... | Martin, Pollicut's Assistant | |
| Carlo D'Angelo | ... | Governor | |
| Marisa Merlini | ... | Regina | |
| Maria Mizar | |||
| Marisa Sally | |||
| Raf Baldassarre | ... | One-Eyed Bounty Hunter | |
| Spartaco Conversi | ... | Walter, Leader of the Outlaws | |
| Remo De Angelis | |||
| Mirella Pamphili | ... | Saloon Girl | |
| rest of cast listed alphabetically: | |||
| Fortunato Arena | ... | Outlaw (uncredited) | |
| Bruno Corazzari | ... | Charlie, Bounty Hunter (uncredited) | |
| Loris Loddi | ... | Silence as Child (uncredited) | |
| Benito Pacifico | ... | Coach Driver (uncredited) | |
| Mimmo Poli | ... | Barman (uncredited) | |
| Claudio Ruffini | ... | Bounty Hunter (uncredited) | |
| Ted Rusoff | ... | First Outlaw Loco Kills (voice: English version) (uncredited) | |
| Giulia Salvatori | ... | Child on Sled (uncredited) | |
Directed by | |||
| Sergio Corbucci | |||
Writing credits(in alphabetical order) | ||
| Mario Amendola | screenplay | |
| Bruno Corbucci | screenplay | |
| Sergio Corbucci | screenplay | |
| Vittoriano Petrilli | screenplay | |
Original Music by | |||
| Ennio Morricone | |||
Cinematography by | |||
| Silvano Ippoliti | |||
Art Direction by | |||
| Riccardo Domenici | (as Riccardo Dominici) | ||
Costume Design by | |||
| Enrico Job | |||
Makeup Department | |||
| Marcella De Marzi | .... | hair stylist | |
| Lamberto Marini | .... | makeup artist | |
Production Management | |||
| Giovanni A. Giurgola | .... | production supervisor | |
| Marcello Papaleo | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Filiberto Fiaschi | .... | assistant director | |
Art Department | |||
| Enrico Simi | .... | assistant set decorator | |
Sound Department | |||
| Romano Pampaloni | .... | sound recordist | |
Special Effects by | |||
| Eros Bacciucchi | .... | special effects (as Eros Baciucci) | |
Stunts | |||
| Bruno Ukmar | .... | head stunt man | |
Camera and Electrical Department | |||
| Renato Doria | .... | camera operator | |
| Eugenio Saluzzi | .... | camera operator | |
| Enrico Sasso | .... | camera operator | |
Costume and Wardrobe Department | |||
| Antonio Palombi | .... | wardrobe assistant | |
Editorial Department | |||
| Amedeo Salfa | .... | assistant editor | |
Music Department | |||
| Bruno Nicolai | .... | conductor | |
Other crew | |||
| Anna Maria Bifarini | .... | script supervisor | |
| Lewis E. Ciannelli | .... | dialogue director | |
| John Hart | .... | language adaptation (English version) | |
| André Tranché | .... | french adaptation | |
| Nicola Venditti | .... | production assistant | |
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| For a Few Dollars More | Rio Bravo | Last Train from Gun Hill | Death Rides a Horse | The North Star |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Italy section |
"That western in the snow" - was my brother's response when he heard that I'd finally tracked down a copy of THE GREAT SILENCE, a.k.a. THE BIG SILENCE (I first saw it 10 years ago on BBC2's 'Moviedrome').
If you like Sergio Leone's films (such as THE GOOD THE BAD AND THE UGLY and A FISTFUL OF DOLLARS) then you'll probably enjoy this film by Sergio Corbucci. Violence, shooting, cussing, strange costumes, haunting music, trademark camera angles and the Italian style go to make up one of the best (lost)westerns I've ever seen.
These films aren't to everyone's taste, but THE GREAT SILENCE is worth watching just to hear the main theme tune which is a fantastic work of latterday composition - it sounds daft but I nearly cry when I hear it sometimes. By turns the score is dream-like, stylish, menacing, bizarre and even ridiculous (twanging sitar-like sounds). This is my favourite piece of Ennio Morricone's music.
As I said before the main reference points for this film are those of Sergio Leone, except for the snow-laden setting and the distinct lack of humour( THE GOOD THE BAD AND THE UGLY still makes me laugh, despite countless watching). Having said that this film has a distinctly original atmosphere of it's own, brought out in the brilliant and shocking ending. the director went to great lengths to preserve his radical finale (particularly unpopular with the producer) - there is a version of the film with a cop-out ending.
In short then, this is a great movie despite all the shortcomings of the particular genre( I'm not saying anything)- I once read that the term "Spaghetti Western" was a derisory one used by American film critics - but I can't think of any American westerns as enjoyable as some of these Italian films.