A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
Manco is a bounty killer chasing El Indio and his gang. During his hunting, he meets Col. Douglas Mortimer, another bounty killer, and they decide to make a partnership, chase the bad guys together and split the reward. During their enterprise, there will be lots of bullets and funny situations. In the end, one of the bounty hunters shows the real intention of his hunting.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Although he did not know any English, Gian Maria Volontè did perform his own voice for the English language version. However, he did need a translator to tell him everything word-for-word. See more »
After Indio shoots him, Cuchillio falls down a slope. He stops with his head pointed downward. In the next shot, his whole body is diagonally across the slope. See more »
Tickets. Tickets, please. Tickets. Tickets. Thank you. Tickets.
Col. Douglas Mortimer:
Is this part of Tucumcari?
We should pass there in about 3 to 4 minutes.
Col. Douglas Mortimer:
Carpetbagger on Train:
Well, eh, excuse me, but you made a mistake, Reverend. I couldn't help hearing you're going to Tucumcari. I sell goods around here, and I gotta tell you, you're on the wrong train. I think the nearest stop to Tucumcari is Amarillo. By getting off at Santa Fe and returning by way of Amarillo, you should be able to get right where... you're....
[...] See more »
The title credits disappear as if being shot by a gun. See more »
In the United States an edited 126 version was released. This version was used for television syndication, pay-tv, and initial home video releases. See more »
Exceptional performances by three heavyweight actors, Gian Maria Volonte and Lee Van Cleef - both of whom, it's a shame, did not have all that many more opportunities to shine in quality films after this one - and Clint Eastwood, along with taut direction, editing, cinematography and gripping and unique music (by the great Ennio Morricone), make this movie a real standout. (The music's almost a major character in this film, in fact.) Stylistically iconic, this Sergio Leone opus has an endlessly fascinating and spellbinding story that surprises to the end. Plus, we really come to like the co-heroes, Van Cleef and Eastwood - we want to befriend them and emulate them. Volonte was priceless as a demonic villain - his facial expressions rich with narcissism and a strange kind of violence-fueled euphoria no one else has ever matched in film history, for my money. Though he clashed with director Leone and purportedly did not like the Western genre, Volonte's performance rises above the film's genre and could be favorably compared to the best portrayed villains of other more mainstream movies. Volonte brought a realism to his character and an intensity you don't see in many films. But so did Van Cleef, whose work in this film is incredible. You'd have thought other movie makers would have rushed to cast Van Cleef in important roles after this film, but no. Very strange. Though some might question the wanton violence in this film, the truth is that the real wild west was even more violent and the violence often much more capricious and random. Like all great artistic works, this film never grows old for me. I am always drawn to watch it again and again for it is of such a depth and complexity that it only reveals more of itself with each viewing.
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