7.7/10
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Duck, You Sucker (1971)

Giù la testa (original title)
PG | | War, Western | 7 July 1972 (USA)
An I.R.A. explosives expert on the run in Mexico meets an amoral Mexican bandit; together they are drawn into the Mexican revolution.

Director:

Writers:

(story), (story) | 5 more credits »

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1 win & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
...
...
...
Maria Monti ...
Adelita, Coach Passenger
...
Santerna (as Rick Battaglia)
Franco Graziosi ...
Governor Huerta
...
Gutierez / Col. Günther Reza (as Domingo Antoine) (as Jean Michel Antoine)
Vivienne Chandler ...
Coleen, John's Girlfriend
...
Nolan, John's Friend
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:

War | Western

Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

|

Release Date:

7 July 1972 (USA)  »

Also Known As:

A Fistful of Dynamite  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (initial US release) | (Laserdisc)

Sound Mix:

Color:

(Technicolor) (english version)| (Eastmancolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The film is believed to have been influenced by Sam Peckinpah's The Wild Bunch (1969), and it shares some plot elements with Pat Garrett & Billy the Kid (1973), a western film also starring James Coburn and released a year later. See more »

Goofs

During the executions in the rain, when Mallory sees Villega identifying rebels, the speed of the windshield wipers changes. In one wide angle shot, the Col is shown manually moving the blades at a relatively slow rate. In other shots, the blades are moving much faster and with less jerkiness than when seen with the manual movement. See more »

Quotes

John H. Mallory: [to Juan, who is lying on a map] That's your country you're lyin' all over.
Juan Miranda: [drowsily] Not my country. My country is me and my family.
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 Evil Dead: A Fistful of Boomstick (2003) 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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