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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 19,609 users   Metascore: 77/100
Reviews: 109 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 in Italian version) (as Jean Michel Antoine in English version)
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

When James Coburn (who had been offered roles in Sergio Leone's A Fistful of Dollars (1964) and Once Upon a Time in the West (1968)) was offered the role of John Mallory by Leone, he was initially reluctant. He had dinner with Henry Fonda (star of Once Upon a Time in the West (1968)) and asked him what he thought of Leone. Fonda told him that he considered Leone the greatest director he ever worked with. Coburn then took the part. (Similarly, Fonda himself had been reluctant to take the part Leone offered hims, but was persuaded by his friend, Eli Wallach.) See more »

Goofs

Although the action takes place circa 1914, when Mallory's possessions are rifled by Miranda's family, a flag with the legend "IRA" is pulled out. The IRA was not formed until 1919. See more »

Quotes

Juan Miranda: [a bird in a cage defecates on Juan's head, Juan looks up] For the rich you sing.
See more »

Crazy Credits

The film's title does not appear until the end (similar to Once Upon a Time in the West (1968)), and the film's final shot is a close-up of the main character reflecting on events that he has recently seen (similar to Once Upon a Time in America (1984)). See more »

Connections

Referenced in Special Collector's Edition: Supercop (2011) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
One of the best westerns/war films made in the 70's: brutal, violent, funny, poetically tragic, etc...
6 August 2005 | by (United States) – See all my reviews

With Fistful of Dyanmite (a.k.a. 'Duck, You Sucker', a.k.a. 'Once Upon a Time in the Revolution', the second part of a 'trilogy'), legendary Sergio Leone puts together something experimental, even more so than the other films in his catalog. Here he now deals with war, but he still has the crime elements of his 'dollars' films; it somehow makes a very clear cut balance between bits of comedy within the tragedy worked in the story; it isn't very brutal, but it is graphic in the genre sense of the time. It's also one of his best films, if you happen to see it within its full running time (like most of Leone's films, this suffered drastic cuts in American versions, reducing critical character points and other Leone surprises).

A Leone film, however, can only be as strong as the leads pushing it up, as in the dozens and dozens of westerns and other films that inspired Leone. Here he uses two character actors (for the most part of their careers), but indeed very good and astute ones at playing their parts. Rod Steiger, who has been in classic films like On the Waterfront and The Pawnbroker, here is slightly like a maturer version of Tuco from The Good, the Bad, and the Ugly: he's still a bandit, with pillaging and beating and raping his way across the countryside, but he's also got a family to look after, who within his anti-hero heart are the most important things to him. Steiger's Juan is usually either surprised, quietly delighted, or agitated off to certain degrees. He plays this for all it's worth, but he also finds the best notes in the moments when he brings out laughs, and in the more sorrowful moments later on in the film.

There's also James Coburn, veteran of many, many films, given one of the great themes of any character in a Leone film by composer Ennio Morricone (there's some sort of instrument or distortion of one in his theme that calls for complete, unusual attention on the viewer). Coburn's Sean (err, John, depending) is a character with some ghosts, perhaps, in his past, and who unlike Juan is more interested in 'other' interests. Although Juan tries not to notice it until the sequence at Mesa Verde (which I won't reveal), Sean has been through a revolution in Ireland, and understand more or less what happens with it. He brings in Juan, after a rather strange yet hilarious encounter, into his web of revolutionary fighters, which doesn't go over to well with him at first. As their story unravels, Coburn still plays it like a pro, being the straight character to Steiger's very theatrical-like performance. He doesn't quite have the mystery an Eastwood or Bronson had in the other Leone films, but he does carry a certain quality about him that puts him in a needed place in the Leone cannon.

Speaking of which, one must not over-look how complex a film like this is in some ways. Leone was not originally the director (it went through the hands of Peter Bogdanovich and Sam Peckinpah before coming to him, coincidentally the opening scene with Juan is a cool homage to the Wild Bunch opening). Yet somehow he puts his stamp, and wonderful mark, on Fistful of Dynamite. This time more history is worked into the film- unlike the civil war acting like a harsh backdrop to the more 'fun' elements of the adventure in The Good, the Bad, and the Ugly, the war in this film affects the main character, and adds a serious tone to an otherwise standard genre picture.

The Steiger character, along with the audience, gets a look at a massive amount of death, or rather the images of the dead: a tower filled with soldiers blown at night, the powerful pans and camera moves across the bodies, real combat, and the suggestions of what goes into the revolution. But its not just the violence of battles that get into the film, its also the personal attitudes during the revolution- the bourgeois vs the peasants (one of Leone's masterstrokes at close-ups in montage is displayed when Juan is on the train with the near monstrous American wealthy early in the film). Leone manages to work in various and cinematic explosions, in-depth or testing close-ups, and sweeping long shots of soldiers, landscapes, and struggle.

Coming back to Ennio Morricone's score- this time, Morricone experiments with some styles of his talents. As when Leone uses a funny, almost cartoon-like, image above Sean from Juans' eyes of a 'Banco' sign (akin the a 'dollar' sign above cartoon characters), Morricone adds a church organ and choir to go along with it. There are also the uses of themes throughout the film, as in Leone's other films, that act like striking, beautiful calling cards. The opening theme is pounding; Sean's flashbacks are given the sumptuous qualities that go with the best (and worst) nostalgia; the scenes with action and suspense, though almost a little standard, still work far better than many standard score of today.

Fistful of Dynamite is entertainment on an epic scale, with a broader and somewhat deeper sub-text, and it comes out with flying colors. Some may not take to it; it could be argued that Steiger, much like Eli Wallach, isn't very convincing as a Mexican bandit, or that the shifting in tones is a little much, even conventional in a weird sense. But it's hard to argue the sense of control that Leone has over his environment in the film, the assuredness of style, and that at the least the parts are greater than the whole. For me, it's a film I've seen twice in one week (once to soak in and get more of the enjoyment, the second time to get even more out of it, and to notice the visual details), and I hope it gets better the next time around.


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