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Duck, You Sucker (1971)
"Giù la testa" (original title)

PG  |   |  Western  |  20 October 1971 (Italy)
7.7
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Ratings: 7.7/10 from 19,857 users   Metascore: 77/100
Reviews: 108 user | 64 critic | 5 from Metacritic.com

An I.R.A. explosives expert on the run in Mexico meets an amoral Mexican bandit; together they are drawn into the Mexican revolution.

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(story), (story), 5 more credits »
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Title: Duck, You Sucker (1971)

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Cast

Cast overview, first billed only:
...
...
Romolo Valli ...
Dr. Villega
Maria Monti ...
Adelita, woman in stagecoach
Rik Battaglia ...
Santerna (as Rick Battaglia)
Franco Graziosi ...
Governor Jaime
Antoine Saint-John ...
Gutierez / Col. Günther Reza (as Domingo Antoine) (as Jean Michel Antoine)
Vivienne Maya ...
Coleen, John's Girlfriend - Flashback (as Vivienne Chandler)
David Warbeck ...
Nolan, John's Friend - Flashback
Giulio Battiferri ...
Miguel
Poldo Bendandi ...
Executed Revolutionary
Omar Bonaro ...
Revolutionary
Roy Bosier ...
Landowner on stagecoach
John Frederick ...
American on stagecoach
Amato Garbini ...
Second Policeman on Train
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Storyline

In Mexico at the time of the Revolution, Juan, the leader of a bandit family, meets John Mallory, an IRA explosives expert on the run from the British. Seeing John's skill with explosives, Juan decides to persuade him to join the bandits in a raid on the great bank of Mesa Verde. John in the meantime has made contact with the revolutionaries, and intends to use his dynamite in their service. Written by Anonymous

Plot Summary | Plot Synopsis

Taglines:

Rod Steiger and James Coburn will blow you apart in "A Fistful of Dynamite" ("Duck You Sucker") by the master of adventure Sergio Leone

Genres:

Western

Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

|

Release Date:

20 October 1971 (Italy)  »

Also Known As:

A Fistful of Dynamite  »

Box Office

Gross:

SEK 613,387 (Sweden)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (initial US release) | (Laserdisc)

Sound Mix:

Color:

(Technicolor) (english version)| (Eastmancolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

Jason Robards and Clint Eastwood were both considered for the role of John; John's friend (David Warbeck) was to be played by Malcolm McDowell. See more »

Goofs

A close-on shot of one of the convoy's trucks as it rolls through mud shows a modern pneumatic tire and wheel. See more »

Quotes

Juan Miranda: What kinda work you do for the German? Listen, I asked you a question. What do you do for the German?
John H. Mallory: I've been looking for silver.
Juan Miranda: Silver? You know something? I don't understand you. I don't understand how you waste your time and your holy water looking for silver. To me, that's a sin.
John H. Mallory: Do you have any better ideas?
Juan Miranda: Si, I think gold is better than silver.
John H. Mallory: Ah, there isn't any gold in these hills.
Juan Miranda: Oh ho, yes there is! In Mesa Verde.
John H. Mallory: Mesa Verde? It's a city.
Juan Miranda: Of course it's a city! Who ever heard ...
[...]
See more »

Crazy Credits

A quote from Chairman Mao regarding the nature of revolutions was removed from original English prints out of fear that audiences would misinterpret the quote's use as an endorsement of communist revolution. The quote was later put back into uncut prints. See more »

Connections

Referenced in End Roll (2012) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

A typically strong Leone film with added interesting political content
6 June 2005 | by (United Kingdom) – See all my reviews

John Malloy is an IRA explosives expert, on the run in Mexico. Juan Miranda is a Mexican bandit with no interest in the political upheaval in his country and only a dream of hitting the large bank his father once failed to rob. When the two meet, Juan sees John's explosives as the way into the ban, but John has no interest and it is only when Juan frames him for the murder of some senior soldiers that John relents. Arriving in the town, the bank looks like a simple hit if they can find some way of distracting the masses of soldiers that now control the small town – luckily the revolution is in full swing and rebels are in great demand; but it is not long before Juan's idea of a simple bank robbery sees him up to his neck in a struggle that he has no interest in.

Many reviewers have said how strong the Leone formula is and I won't be able to add much to their words but for me this is a fine film mainly because it takes apart yet another of the cinema myths of the noble revolutionary fighters and has a fascinating thread of political commentary running all the way through it. It doesn't open this way though, rather it starts with Leone's usual brand of wit and confrontation between John and Juan and it all feels like it will be similar (and just as good) to some of Leone's other westerns. However, about an hour in, it becomes more interesting thanks to the rather shocking portrayal of the revolution (on both sides) and the ripping into the ideas behind it. It only adds to the basic plot and, when it becomes the main focus, the film is stronger for it, although Leone's Marxist views may be a little hard to swallow for some viewers in the west. That said, it does still work as a typical Leone western and fans of his will still love this film.

The cast is good but you gotta wonder how those accents would have been mauled if the film had not been as roundly good – certainly Coburn's attempts at an Irish brogue are not the most convincing I've heard. Other than that though he is good in the lead role, coping well with making an IRA character "likeable" without damaging the cynicism and regret that exists within him. His flashback scenes are convincing even if it is not that important to the main thrust of the film. Steiger is less serious at first but develops his character well, despite having to cope with a "road to Damascus" moment as part of it. He is consistently amusing as a character and he does tend to dominate his scenes to good effect. Support is fine but really these two men are the film and they do it very well, coping with the laughs, tension and political commentary equally well.

Overall, a typically strong film from Leone that has all his usual formula touches as well as plenty of commentary of value. The direction and use of music are as good as always and the cast cope well with the demands of the script. Reviewers who have taken this as an attack on John Ford's idea of the revolutionary Irishman are perhaps a little off since the film only confirms Ford's usual pointing out of "printing the myth" but it still has plenty of value and interesting political commentary.


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