After the Rebels are brutally overpowered by the Empire on the ice planet Hoth, Luke Skywalker begins Jedi training with Yoda, while his friends are pursued by Darth Vader and a bounty hunter named Boba Fett all over the galaxy.
The presidencies of Kennedy and Johnson, the events of Vietnam, Watergate and other historical events unfold through the perspective of an Alabama man with an IQ of 75, whose only desire is to be reunited with his childhood sweetheart.
Blondie (The Good) (Clint Eastwood) is a professional gunslinger who is out trying to earn a few dollars. Angel Eyes (The Bad) (Lee Van Cleef) is a hitman who always commits to a task and sees it through, as long as he is paid to do so. And Tuco (The Ugly) (Eli Wallach) is a wanted outlaw trying to take care of his own hide. Tuco and Blondie share a partnership together making money off of Tuco's bounty, but when Blondie unties the partnership, Tuco tries to hunt down Blondie. When Blondie and Tuco come across a horse carriage loaded with dead bodies, they soon learn from the only survivor, Bill Carson (Antonio Casale), that he and a few other men have buried a stash of gold in a cemetery. Unfortunately, Carson dies and Tuco only finds out the name of the cemetery, while Blondie finds out the name on the grave. Now the two must keep each other alive in order to find the gold. Angel Eyes (who had been looking for Bill Carson) discovers that Tuco and Blondie met with Carson and knows ...Written by
Charles Bronson was offered the roles of Tuco and Angel Eyes (the latter because Sergio Leone feared that audiences would not take kindly to Lee Van Cleef going from the fatherly, likable Colonel Douglas Mortimer to a sneering villain). He declined both, as he was in England filming The Dirty Dozen (1967). See more »
The man pointed at as the Confederate General Sibley (by the hotel owner) is actually a Confederate Captain according to the rank insignia on his collar. The buttons on his uniform is furthermore misplaced compared to that of a authentic Confederation Captain. A genuine uniforms buttons would have been closer to the chest. See more »
You're... from Baker?
[Angel Eyes is silent, eating a bowl of stew and staring at him]
Tell Baker that I told him all that I know already and I want to live in peace, understand? That it's no use to go on tormenting me! I know nothing at all about that case of coins.
[Angel Eyes stops eating and looks interested]
Now that gold has disappeared, but if he'd listened we could have avoided this altogether. I went to the Army court; there were no witnesses. They couldn't uncover any more. I...
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The versions of this film can be summarized as follows:
The full Italian version runs about 174m.
The "International Export"/ Original U.S. theatrical version supervised by Leone runs 161m - this is the version available on VHS, laserdisc and DVD in the UK and USA. The other 14m were never dubbed into English - these additional sequences appear as extras on both the UK and USA DVD releases and the last laserdisc release.
In the UK the theatrical release was cut by the BBFC and ran to a similar run time of 161m due to distributor cuts and censorship cuts - the main distributor cut was the removal of the entire scene with Eli Wallach in the gun shop; the censors hacked about 2m out of the scene when Wallach is tortured by Mario Brega in the prison. It is believed the 1986 UK VHS contains this BBFC cut since later videos from 1999 are slightly longer (c. 1 minute). UK videos and DVDs released from 1999 are uncut and run 161m (156m PAL running time). Various other scenes may have been filmed but excised by Leone before release. One of the laserdisc releases contains a still on the inside cover of Eastwood in bed with a woman that has never appeared in any version of the film.
After many years of barely watching any movies, I treated myself to several classics recently. And this was the best.
That I so enjoyed this movie so much came as a shock to me. I literally never before have been able to even sit through a western, which (in my admittedly limited experience) was schlock action starring John Wayne as the taciturn all-American good guy being tough and beating up the outlaws. Watching GBU, I was enthralled for the entire three hours. Twice. And if I had time, I would have watched it a third time.
The setting is typically western: a dry, dusty panorama in which men barely co-exist with each other; few wasted words; and lots of action, horses, and gunfighting in a wild west barely governed by incipient institutions of law & order all shrouded within a morality play of good vs. bad. But what I liked so much is exactly what I hate about John Wayne westerns the seriousness and honesty with which moral context is considered. In Hollywood, good vs. bad is as thoughtlessly superscripted as the protagonists' white and black hats. In GBU every remnant of moralizing has been ruthlessly cut.
Good, Bad, and Ugly are personified in the form of three characters: Bad ("Sentenza") is the easiest to understand. He is *very* bad, perhaps not so different from other villains, but much more sharply developed; murderous, sadistic, traitorous, and remorseless. Good ("Blondie") and Ugly ("Tuco") are more puzzling, but their labels are the key to the movie. Both Blondie and Tuco are outlaws and killers with only the barest hint of morality, but they're not evil in the same way that Sentenza is. Tuco is demonstrative, emotional, loud, wild, and unpredictable; but driven by survival rather than satanic urges. Blondie is cool, calm, rational and controlled in many ways similar to Sentenza but whereas Sentenza tortures, maims, kills, and lies for the hell of it, even apparently enjoys it, Blondie simply goes about his business coolly, and shows several poignant hints of empathy, decency, and a sense of justice.
GBU takes place during the Civil War and strips away the high-level political struggle of history books, leaving us with the soldier's vantage point of brutality, pointless death, and some individual decency. The politics are indecipherable from this vantage point. GBU hits this point home when our protagonists wind up in a prison camp because the oncoming gray cavalry uniforms turn out to be dust-covered blue. Later, they encounter an army fighting over a worthless bridge, suffering countless pointless deaths and casualties. Because Leone has so rigorously excised traditional off-the-shelf morality, the few instances of humanity are remarkably poignant. One such instance is when Blondie shares his coat and cigar with a dying soldier; another is when prisoners are forced by Sentenza's orders to play music to cover up the screams of the tortured. Sentenza apparently enjoyed the irony of beautiful sounds used for such ends; the musicians are, of course, pained by it.
That was one of many extraordinarily striking scenes. The honesty of the moral context was what I liked best about the film, but I liked everything else too. Indeed the same primal, ruthless honesty that characterizes the character development pervades the film. The music is unlike anything I'd ever heard it's an audible version of the arid west and the tensions and lawlessness that characterize the film. Underlying the entire score is one instantly memorable theme starting off with what sounds like a screaming hyena. The story took place in New Mexico, and even though it was filmed in Spain, it really does look like New Mexico; and just as in life in the American west, the wide, breathtaking panorama tends to subordinates dialog. Indeed, it is several minutes into the film before even one word is spoken.
The plot was extremely clever and never predictable. High level suspense is maintained for the full three hours. It was hard to imagine how it could unfold three uncompromising outlaws in search of one buried treasure; cooperation was not in their nature, but nothing was ever done out of character. Any Western cliché that you can think of is either given a unique twist or destroyed by masterful storytelling. For example there is an utterly irreverent scene in which Tuco meets his brother, a sincere Priest, and turns platitudes upside down. The brother begins with the standard rebuke of the criminal's behavior, but Tuco punches back and says, "Where we come from there were only two ways out. You lacked the courage to do what I've done." The movie is also irreverently funny: For example, Twice Tuco gained the upper hand on Blondie and said:
"There are two kinds of spurs(?), my friend. Those that come in by the door, and (crosses himself) those that come in by the window."
"There are two kinds of people in the world, my friend. Those who have a rope around their neck and those who have the job of cutting." Later Blondie gained the advantage of Tuco and observed:
"You see in this world there's two kinds of people my friend - those with loaded guns, and those who dig. You dig." In addition to all these specific attributes, a unique and strikingly cool style infuses the entire film: long scenes of tense silences never for an instant boring; and telling, startling close-ups and transitions. Most noteworthy was the film's climax. As the protagonists stand there with their fingers on their holsters, waiting for the first person to go for their gun(s), the transitions start out slowly, and speed up as the tension increases. As I write this, I wish I had my own copy of the film, just so I could see this scene again.
Not just a great western, but easily one of the best movies of *any* kind ever made.
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