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Kinda neat....but really stupid from time to time.
MartinHafer13 July 2010
Warning: Spoilers
"Django" is a very stylish western, though the script occasionally falls apart due to serious brain lapses by the writers--really serious brain lapses--but more about them in a moment.

The film starts with a group of Mexican sadists capturing and whipping a woman in what appears to be the American Southwest desert (though I assume this was really filmed in either Spain or Italy like the rest of the films of this genre). Suddenly, a group of non-Mexicans arrive-- killing the sadists. Unfortunately, they, too, are sadists and plan on killing her as well! Just before they can do so, however, the anti-hero, Django, arrives--killing all the baddies.

Once Django and the woman arrive in the muddiest town I have ever seen (seriously, folks--though this begs the question "how is the town so muddy when there's bone-dry desert everywhere?"). Soon there is a confrontation between Django and the big boss-man--and Django kills all the bad boss-man's hired guns--though, inexplicably, Django deliberately lets the boss-man go (this makes no sense at all).

Soon, a group of Mexican bandits now arrive in town. I expected to see Django kill these guys, but apparently they were all friends. There's a gratuitous fist fight and a lot of drinking. During the drinking and partying, Django steals the gold belonging to the bandits and runs out of town with the woman he saved earlier in the film.

Apparently, Django is an idiot, as the gold isn't secured too well on his wagon and the coffin containing it falls into quicksand. Now the fact that there is quicksand twice in this film which is SUPPOSED to be around the bone-dry US-Mexican border makes no sense at all. It simply should NOT be there and it's fortuitous how it just happens to be there at the perfect time! The Mexican bandits arrive and shoot the lady and decide NOT to kill Django--though why bandits would only maul him made no sense at all. I'm no bandit, but I sure would have killed him! No matter, as the big bad boss-man arrives AGAIN with a new group of henchmen and kills the Mexicans. Now, it's up to a horribly mangled Django to face the boss-man--even though his hands have been smashed horribly (actually, it looks like they covered them in raw hamburger). Can Django pull out a miraculous victory or is this it for our very handsome hero?

Aside from some of the dumb story elements I mentioned above (conveniently located quicksand in the desert, Django leaving the bad boss-man alive, the Mexicans leaving Django alive, etc.), there are many other impossible to believe moments--such as when Django somehow has found a machine gun (during an era when only hand-cranked Gatling guns were available) and arranged for it to fire non-stop on its own for an interminably long period (it should have run out of bullets long before it did). Plus, apparently a coffin filled with gold, at least according to this film, looks and weighs the same as gravel. Seeing Django lifting a coffin that SHOULD have weighed a ton or more made me laugh. Heck, even if it had been gravel, he never should have been able to lift it. Clearly, the writers never thought out ANYTHING in the film.

Despite the many, many serious problems with the plot, the film apparently has a HUGE cult following and sparked sequels. I can see why this could be, as Franco Nero was super-handsome and cool. And, the music and direction were excellent as well--making up for a lot of the deficits. Not a brilliant film in any sense, but very watchable.,,and dumb.
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Good Film
Michael_Elliott9 April 2008
Django (1966)

*** (out of 4)

Franco Nero plays the title character, a mysterious man who carries a coffin around with him and stars a bloody battle between Mexican bandits and a KKK like leader (Jose Bodalo). This Spaghetti Western is yet another take on Kurosawa's Yojimbo but the performance by Nero and the non-stop violence makes this a worthy film. I think the film's only major flaw is in the middle where it starts to drag a bit but things pick up in the suspenseful and violent ending. A big plus to this film is the wonderful looking town, which is constantly muddy, depressing and just smells of a rotten corpse. This beautiful, in an ugly way, setting really captures the mood and spirit of the film and adds a lot to the movie. Nero is perfect in the title role and really makes this a very memorable character. The best supporting character has to the be the coffin, which leads to a few funny jokes along the way. The film is full of non-stop violence, which keeps the action going and this violence includes the infamous ear cutting scene, which would be recreated years later by Quentin Tarantino in Reservoir Dogs. The opening song is also very good and quite catchy as well. I'm not sure I'd call this film a classic but it is a legendary film in the genre and one worth checking out.
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A visual - and visceral - treat
Leofwine_draca25 June 2016
Warning: Spoilers
A classic spaghetti western yarn which proved to be so popular that it spawned at least two dozen sequels, remakes and rip-offs all of which traded in on the mysterious central figure of Django, a very visual character with a wide-brimmed hat, grey scarf, and long black overcoat, who drags a coffin through the mud behind him. Plotwise, the film is nothing new but another remake of the Japanese classic YOJIMBO, already made once as A FISTFUL OF DOLLARS. The two remakes, although both within the genre, are very different movies. Whereas FISTFUL was a film with strong characterisation, witty and quotable dialogue and good acting, Django has none of that. Most of the characters aren't developed at all, aside from Franco Nero and a couple of the leads, the acting is merely acceptable, the dialogue unmemorable.

Where director Sergio Corbucci comes into his own is with his unique visual style. Instead of employing the same camera tricks as the one and only Sergio Leone, Corbucci instead creates a colourful movie in which the brightly-clothed characters stand out against a grim backdrop of mud, scum and ruin. There are some truly memorable and classic images in this movie, whether it be Django using his machine-gun to mow down dozens of red-hooded religious fanatics (who seem to be an early version of the Ku Klux Klan!), or the standout finale which sees Django - his hands now useless, raw and bleeding - attempting to load and fire his gun at the hit squad which has come to destroy him, all set in a down-trodden cemetery.

Each character has his own unique colours and appearance to distinguish him from the rest making for a very visual movie to watch. While the music is a bit over-the-top and a far cry from Ennio Morricone, the shoot-outs are staged in a no-nonsense manner with plenty of style. Franco Nero - after supporting parts in the likes of THE WILD, WILD, PLANET - gives a tough, impassive and spooky performance in the title role which established him as one of Italy's top actors for years to come. Angel Alvarez shines as the friendly bartender caught up in the mayhem, as does Loredana Nusciak as a prostitute who falls for Django after he saves her from a whipping. Meanwhile, Eduardo Fajardo makes for a truly despicable villain as he shoots Mexicans for sport in the back as they run away.

What makes this film so memorable is the legendary violence - something which caused it to be banned outright in the UK (so what else is new?). The scene every body remembers is where a man gets his ear sliced off in bloody, unflinching detail which easily gives a similar moment in RESERVOIR DOGS a run for it's moment. Other "highlights" include a man being shot in the face, and Nero having both of his hands mercilessly beaten to a pulp. As the film progresses, so does the death toll, and sweeping views of valleys littered with corpses are largely impressive. Most of the cast ends up dead by the time the film ends. DJANGO is a highly watchable movie with plenty of style and visual splendour to recommend it, one of the big boys of the genre.
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The Newcomer In Town
claudio_carvalho18 November 2006
While walking through the desert lands dragging a coffin, the lonely Django (Franco Nero) rescues Maria (Loredana Nusciak) from a group of bandits and arrives in a quite ghost town, where only the saloon and the brothel owned by Nataniele (Ángel Álvarez ) are open. Sooner Major Jackson (Eduardo Fajardo), who charges protection fees from the dwellers, rounds his gang up to face Django, but he kills all the bandits but Jackson using a machine gun. Then the mercenary and acquaintance of Django, Gen. Hugo Rodriguez (José Bodaló) arrives in town, and Django proposes a bold plan to steal the gold from Jackson and split between them. When Django is betrayed, he steals the gold from Hugo and is helped by Maria. They are chased by Hugo and his men, while Jackson organizes with the Mexican army to trap Hugo.

The originality of the beginning of "Django" is simply fantastic, with a lonely man dragging a mysterious coffin along desert lands and saving a woman from sadistic criminals. When the mystery is disclosed, it is very funny to see the confrontation of Django against forty-eight "bad guys". The story follows captivating, with the usual pattern of spaghetti-western, but the scene when the accomplice of Hugo hits successively times the hands of Django with a rifle is exaggerated and spoils the rest of the movie. The DVD released in Brazil does not have the original Italian audio, only dubbed in English or Portuguese. My vote is six.

Title (Brazil): "Django"
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The "cool points" are not consistent enough to carry it, although it is an OK spaghetti western
bob the moo26 December 2008
Every film buff has at least heard of Django and it was decades ago since I last watched it and thus have never commented on it. Rather than go off my memory of some cool images and a sense of toughness I watched it again recently and must admit to being slightly disappointed with what I found. The cult label and the praise of fans seems to have elevated Django to the level of some of the classic spaghetti westerns and it certainly does not deserve to be that high because it is "OK" but not consistently good enough to do the job. The plot setup creates one of the iconic images as a man drags a coffin through the desert and, shortly afterwards, reveals what is in that coffin as he gets drawn into a fight with the dastardly Major Jackson, having rescued a girl from his men. This then gives way to a robbery and some betrayal before the end and, in theory, it sounds like good stuff.

Sadly the delivery of the plot is not that well done and it feels messy and sporadic rather than flowing like it should. Without the plot working the viewer doesn't engage with the film as well as required either and, towards the end I found the many large gunfights to be a bit, well, dull – not for lack of action but because I didn't care that much. Corbucci's direction is not great either and I'm not sure where the idea came from that Django is his great film and proof of his genius. Most of his shots are badly done and lack style and he cannot make the film feel any way consistently. He does have several iconic ideas in there but they are delivered in spite of his direction, not because of them; look at the coolest scenes or images in the film and tell me they could not have been framed or delivered in such a way to have had more in the way of style? The cast are not helped one bit by the average voiceovers and generally poor dubbing so it is unfair to judge their performances in isolation of that. Nero has a good look but his dialogue moves him away from the tough image he has early on, while the voice-over in the version I saw was too soft to match his screen presence. Nusciak doesn't say much but she is a beauty and stands out as such. Bódalo and Fajardo are solid but unremarkable in stock characters; there was room for more from them but neither really stepped up to it even if they were both OK. Similarly Álvarez wasn't as special as his character could have been – he hints at colour but mostly doesn't deliver on it. One thing I did really like was the set of the town outside the brothel; ankle deep in mud and nothing green in site – it seems fitting to me and it was the best location of the film.

I wanted to like Django more than I did – mainly because I remembered it as much cooler and tougher than it really turned out to be. It does have cool parts, whether they be scenes, ideas or images but most of it is nothing particularly special and, while time will remove them from your mind, the hard truth is that these moments are the majority of the film. OK, but nothing more than that.
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The Original
gavin694220 September 2017
A coffin-dragging gunslinger (Franco Nero) and a half-breed prostitute become embroiled in a bitter feud between a Klan of Southern racists and a band of Mexican Revolutionaries.

Intended to capitalize on and rival the success of Sergio Leone's "A Fistful of Dollars", Corbucci's film is, like Leone's, considered to be a loose, unofficial adaptation of Akira Kurosawa's "Yojimbo". Indeed, many people have called this an homage to Leone, which may be only half right.

In many ways, this film may have been even more influential than the Leone trilogy. There have since been many, many films that have borrowed the name Django, often with no connection whatsoever to the original film. The Eastwood character, on the other hand, was never blatantly ripped off as frequently.
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the Italian west
lee_eisenberg27 May 2011
Riding the wave of spaghetti westerns, Sergio Corbucci's "Django" casts Franco Nero as a coffin-dragging drifter who wanders into a town and gets caught in the middle of a fight between various parties. The movie is mostly an excuse for Nero to be cool/tough, the same sort of guy as Clint Eastwood's man with no name. But believe me, it's a fun movie. Django is the ultimate antihero: he's a protagonist who has no qualms about shooting everyone in sight. Then again, it's hard to say if any character in the movie can truly be considered "good" (except maybe the prostitutes). Really fun.

"Django" had a number of unofficial sequels. Apparently, Quentin Tarantino is now planning to make "Django Unchained". I like the sound of that.

PS: Luis Bacalov, who wrote the music for "Django", later won an Oscar for the "Il postino" score. Also, Franco Nero co-starred with Vanessa Redgrave in "Camelot". They had a son who directed Redgrave -- along with Michael Moore and Angelina Jolie -- in "The Fever", based on a Wallace Shawn play.
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Superior spaghetti Western landmark
Woodyanders25 August 2014
Warning: Spoilers
Shrewd, tough, and formidable ex-Yankee soldier and expert gunslinger Django (the incomparable Franco Nero in a strong and charismatic star-making performance) arrives in a godforsaken US-Mexican border town dragging a coffin behind him. Django finds himself caught in the middle of a bitter feud between the Klu Klux Klan and a gang of mangy bandits. Director/co-writer Sergio Corbucci does a masterful job of vividly evoking a dingy and dangerous dirt-caked west: The pungent atmosphere of the miserable mud-spattered hamlet where greed, vice, brutality, and amorality reign supreme along with the uncompromisingly gritty tone, the astronomical body count, and startling moments of over-the-top savage violence -- one guy has an ear sliced off and shoved down his throat! -- all give this picture an extra ferocious sting. Moreover, Corbucci not only stages the copious shoot-outs with brio and skill, but also further spices things up with a slyly amusing sense of spot-on cynical humor. Franco's potent brooding presence holds this picture together; he receives sturdy support from ravishing redhead Loredana Nusciak as sympathetic prostitute Maria, Eduardo Fajardo as the evil Major Jackson, Jose Bodalo as the vicious General Hugo Rodriguez, Angel Alvarez as amiable old-timer bartender Nathaniel, and Gino Pernice as slimy lackey Brother Jonathan. Enzo Barboni's crisp cinematography offers a wealth of striking visuals. Luis Bacalov's spirited moody score does the rousing trick. Mandatory viewing for fans of the genre.
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Classic and violent Spaghetti Western with numerous imitations and rip-offs.
ma-cortes26 August 2009
This cult movie centers on Django(Franco Nero), a stranger man without identity , at the beginning he saves a woman (Loredana Nusciak). Later on , he is going to a village dragging a coffin behind him . The little town is located in the US-Mexican border . There he will take on two rivals , a Yankee group (leading Eduardo Fajardo) and a Mexican bunch (commanding Jose Bodalo). The colonel Jackson band is formed by a type of Ku-Klux-Klan hoodlums and he wears a red foulard . Django befriends the owner of the saloon (Angel Alvarez , a character-alike to Silvanito from ¨Fistful of dollars¨). Django seeks vengeance and go after the dastardly nasties because of his wife lies into a tomb captioning Mercedes Zaro (1839-1869) .

It is an exciting western co-produced by Italy/Spain with breathtaking showdown between the starring and his enemies . The highlights of the film are the confrontation at the village full of mud and dirtiness , between the baddies hooded with a red scarf and Django wielding a machine gun (though with anachronism , because being actually a 'Maxim model' that was made in 1880 and isn't utilized the usual 'Gatlin' machine-gun) and there he does a real massacre . Besides , the attack at fort where Django and henchmen cause a cruel slaughter , and , of course , the final showdown at the graveyard . Django is named as homage to ¨Django Reinhardt¨ , the famous American musician who introduced his particular guitar . There are special remembrances to Leone's Westerns , thus: ¨Fistful of dollars¨ about the facing off between two bands and ¨The good, ugly and evil¨ regarding the cemetery duel . The film blends violence , blood , shootouts and it is fast moving except for the saloon's episode that's a little bit slow-moving . There are many technicians and assistants who will have a long career , as cameraman Enzo Barboni or E.B.Clucher (filmmaker of ¨Trinity¨ series with Terence Hill , Bud Spencer) who does an excellent photography with barren outdoors , dirty landscapes under a glimmer sun and foggy clouds , shot on outskirts of Madrid in La Pedriza , Torremocha Del Jarama and Colmenar Viejo . The musician Luis Enrique Bacalov (author of ¨The Postman and Pablo Neruda¨ which won an Oscar and composed lots of Spaghetti) creates a good soundtrack with Ennio Morricone influence . In addition , assistant direction by Ruggiero Deodato (Cannibal Holocaust). The picture was no authorized to minor 18 years and prohibited in various countries for its violence , for example , in England , but in France , Germany was a real hit and in Japan there is one ¨Fondazione Django¨ too . Sergio Corbucci direction is good ; after that , he would make several Spaghetti classics : ¨The great silence¨, ¨Compañeros¨ and ¨the Mercenary¨ and other considerable Paella Westerns : ¨Hellbenders¨, ¨Far west story¨ , ¨Johnny Oro¨ and ¨Navajo Joe¨.

It is followed by an official sequel titled ¨Django strikes again (1987)¨ by Nello Rossati alias Ted Archer with Franco Nero who has left his previous life of violence in favor of a existence as monk , though returns when his daughter is kidnapped . Furthermore, numerous unofficial sequels , rip-offs , and copies , such as : ¨Django the last killer (67)¨ by Giuseppe Vari with George Eastman ; Django dares Sartana¨ (69) by Pascuale Squitieri ; Django Il Bastardo¨(1969) by Sergi Garrone with Anthony Steffen , ¨Django shoots first (1974)¨ by Alberto De Martino with Glen Saxon and Evelyn Stewart.
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You know when you've been Django'd.
BA_Harrison14 February 2021
Opening with its titular character dragging a heavy coffin behind him through a bleak, muddy landscape, Django immediately establishes its tone: gritty, tough, with an aura of death omnipresent. While perhaps not quite on a par with Sergio Leone's iconic 'man with no name' movies in terms of overall style, lacking those films' directorial finesse, Eastwood's star power, and Morricone's marvellous music (Django's theme song is cool, but not THAT cool), Django is still essential viewing for followers of the genre, a no-nonsense tale of vengeance in a law-less land where survival depends on bravery, guile and a fast trigger.

Franco Nero stars as Django, who saves prostitute Maria (Loredana Nusciak) from five men who intend to kill her for trying to escape a nearby town, which has been caught in the middle of a war between Major Jackson (Eduardo Fajardo) with his Klan-like army, and Mexican general Hugo Rodriguez (José Bódalo) and his followers. Arriving in town, Django makes himself comfy in the local brothel/saloon and waits, finger on trigger, ready to settle an old score and make himself rich in the process.

Sergio Corbucci's direction mightn't be as classy or as iconic as Leone's, but the sheer level of violence in Django makes the film almost as memorable as any of the Eastwood vehicles, Nero's character happily machine gunning dozens of bad guys without a second thought. And although it's not his finger on the trigger, it's his plan to use his Gatling gun to cut a swathe though the innocent guards of a nearby fort in order to steal the gold within. Considering that this is the hero of the piece, it's easy to see why the film was refused a certificate in the UK until 1993 (when the Video Nasty debacle had finally subsided).

It's this film's 'excessive and nauseating violence' (as the BBFC put it in 1967), combined with Django's unflappable stoicism in the face of great adversity (smashed hands don't stop our hero from tackling the bad guys), that go to make this highly influential western a satisfying experience for fans of Spaghetti cinema.
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if you can ignore the wretched dubbing- one of the worst outside of Godzilla- it's an enjoyable whirlwind of a spaghetti western
Quinoa19841 November 2008
Sergio Corbucci is not really a great director, but if I hear his name I perk up in a genre-geek sort of way. Having seen a couple other movies by him, Navajo Joe and Il Grande Silenzio, I knew what to expect with Django, which is some of the same only (hopefully) more violent and serious and convoluted. Actually, the story in Django isn't too convoluted, just if you don't pay close attention, which is easy once or twice. It doesn't have the weird, cool energy of Grande Silenzio or the camp of Navajo Joe. But it stands on its own as a solid entry- the most well-known of all spaghetti westerns in Europe (yes, more than Leone, who was also a God there), and, well... if you watch the dubbed version from Anchor Bay video and come out unscathed, more power to you.

Franco Nero is in his iconic role as the title character (sing it with me, "Djangoooo!"), a man dragging a coffin into town and with some payback to deliver against a man named Jackson, and is actually caught up in two warring factions: a group of red-suited KKK members, and a crazy group of Mexicans, with women thrown from here to there and in-between. Django, of course, doesn't want to get involved with that, but he does, and it becomes a whole big thing not too unfamiliar to those who've seen their share of Leone pictures. In fact, this was the first in a whole franchise of Django- some official and most not, leading up to this year with Miike's amazing remake- and I could likely see this as being the best without having seen one other. It's just a guess, I could be wrong. Certainly it would be hard to top the body count, which nears 150 (or maybe it's more), if not all of the performances.

Then again, it's the look of most of the characters that becomes more and more striking as the movie goes on, including one snarling gunman with bad teeth and big gums (I forget his name), and the stone-faced Jackson himself who Django has the chance to kill early on but leaves alive (somewhat bewilderingly, then again there would be no film and less conflict for otherwise amazing comic-book gunslinger Django). What Corbucci can deliver alongside his cast of mostly bit players and hamming-uppers, is a kind of tough but loose style; he won't go to extremes like Leone with a close-up or a far-away angle, he'll just zoom and veer right into the action and get all of the bloody, crazy killings right up close and fast as possible. He's a good exploitation director and a decent stylist, with a little artistry and a warped form of professionalism. It must be fun and/or rough work being on his set.

So, for any and all genre fans, spaghetti western or just crazy-action film, you'll see why Django gets its rep, for better or for worse, usually the better. It's sometimes sloppy and occasionally not altogether well-made, but it soaks up its audience with its character as he kills quick with his huge cannon of a machine gun and has a final scene at a cemetery that is in the books somewhere as a mark of a true bad-ass. Just make sure, for the love of Pete, to try and steer clear of the English dubbing, as it's a mind-numbing experience (or just hilarious too).
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Paint your wagon....RED WITH BLOOD!
Coventry11 July 2005
Sergio Corbucci's "Django", as well as his "The Great Silence" are two massively underrated spaghetti-westerns that co-founded the genre, along with Sergio Leone's Dollars-trilogy. Okay, this no "Once Upon a Time in the West" when it comes to atmosphere or plotting, but it is a magnificently mounted action ride with an utterly cool lead hero and an enormous body count. "Django" remained banned in several countries for a long time because of its explicit, comic-book like violence, and you'll see that this wasn't without reason, as the bad guys get slaughtered by the dozen in a good old-fashioned gunslinger way. The movie opens terrifically, with a sleazy title song and vicious images of a lonely cowboy wandering through the Southern wastelands with a coffin in tow. The man is Django and his coffin contains whatever he requires to fulfill his difficult goal: single-handedly finishing the war between the racist Major Jackson and Mexican bandidos by annihilating them all. Corbucci implements a straightforward, no-nonsense filming style with some great visuals and very creative camera angles. There are some ingenious aspects (Django's act of vengeance with molested hands) as well as some delicious clichés moments (wrestling prostitutes, extended bar fight sequences...). This film may not be a very intellectual form of entertainment, but it sure is fun and produced with a certain degree of class.

Followed by a numberless amount of sequels, rip-offs and wannabes that are hardly worth purchasing. Stick to the original and have a blast!
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Beyond an influence
BandSAboutMovies16 August 2020
Warning: Spoilers
Next to the Leone films and Ringo, Django is perhaps the most influential of all Italian Westerns. Thanks to the Quentin Tarantino release of Django Unchained, today it is probably even more well-known in the U.S.

While making Ringo and his Golden Pistol, Sergio Corbucci was approached by Manolo Bolognini to make this film. Bolognini wanted to make back the money he had lost on his first film as a producer, The Possessed, and since Westerns were hot, it seemed to be a good genre to get into.

Much as how Yojimbo had influenced A Fistful of Dollars, Corbucci wanted to make a movie that would echo the work of Kurosawa. As for the idea of the coffin-dragging protagonist, assistant director Ruggero Deodato - hmm, wonder what that guy did after this? - claimed that the director took the idea from a comic book that he had read.

Strangely enough, in Japan, this film was Continuation: Wilderness Bodyguard, marketed not only as a remake of Yojimbo but a sequel to A Fistful of Dollars, which was distributed in Japan by Kurosawa as the result of the lawsuit between he and Leone. As a result, the Japanese auteur won 15% of the worldwide receipts and over $100,000.

The Japanese/Italian Western connection continued with Yojimbo star Toshiro Mifune appearing in Terence Young's Red Sun, which also featured another Leone player, Charles Bronson.

The idea for - spoiler warning - Django's hands to be ruined before the end of the movie came from the notion that guitarist Django Reinhardt became legendary despite not being able to move the third and fourth fingers of his left hand.

Walking into a war between Major Jackson's Red Shirts and General Hugo Rodríguez's revolutionaries, Django starts the film by dragging a coffin behind himself and then dispatches several of Jackson's soldiers who are attempting to crucify a prostitute named Maria (Loredana Nusciak, Tiffany Memorandum, Superargo versus Diabolikus).

Our hero then eggs Jackson on, making him bring most of his forces to town, where he opens the coffin to reveal a machine gun that he uses to kill nearly everyone. This has all been for revenge, as Jackson had murdered Django's lover Mercedes Zaro.

What follows is a meditation on the needs of love versus material wealth, which ends up costing Django nearly everything. The gold that everyone is dying over almost costs even our once-thought invincible hero his life. This is an incredibly bloody installment of the Western genre, with a body count of 180 people, including 79 personally dispatched by Django.

To get an indication of the success of this film, you only need to realize that more than thirty unofficial sequels were made to it, often only using the name to sell tickets. We'll be covering some of the better installments this week, such as Django the Bastard and Django Kill... If You Live, Shoot!

There was also a planned sequel in 1968 called Django, Prepare a Coffin that ended up featuring Terrence Hill before Nero returned to the role one more time in Django Strikes Again, which was filmed at the same time as Corbucci's Tex and the Lord of the Deep.

The end of this movie, as Django's ingenuity prevails against physical pain and the realization that his need for money over love caused this, is poetic and bloody in a way that very few films - much less Westerns - can ever hope to capture. Amongst the blood, mud and dust, there is art.
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Django, you drag your coffin around, coffin around, coffin around.
hitchcockthelegend5 May 2016
Django is directed by Sergio Corbucci and it stars Franco Nero, José Bódalo, Loredana Nusciak, Ángel Álvarez and Eduardo Fajardo.

Django (Nero), dragging a coffin behind him, saves a woman from some bandits and soon finds himself in the middle of war between two factions - which he may be able to use to his advantage.

1966 was a stellar year for Spaghetti Westerns, Leone was putting the crown on his "Dollars" trilogy, Damiani produced a political firecracker and Sollima crafted one of the finest "manhunt" Oaters of this sub-genre. Then there is this, Django, a Pasta Western that is synonymous with the form.

I fought for the North!

Django is a treat, it's violent and cruel, funny and cheeky, and pleasing on the eyes and ears - so pretty much it contains all the best things that made the original wave of Spaghetti's so palatable. Undeniably it owes a "lot" to A Fistful of Dollars and Yojimbo, but it's still its own beast, a baroque Gothic piece of work that positively revels in nihilism. The graphic violence is wonderfully cartoonish, the iconography unbound, and in Nero - eyes likes chips of ice - the pic has one of the coolest and baddest men on the planet. Nusciak brings the sex and sizzle, coming off like a Spag Raquel Welch, whilst the villains are delightfully vile and scuzzy.

The setting is superb, a muddy cold hell of a town with a brothel as the fulcrum of the piece. Naturally there's a cemetery, which will play host to some of that iconography mentioned earlier. Religion gets short shrift, racial prejudice given a caustic once over, while it's worth mentioning there's more than a hint of social realism pulsing away as Corbucci brings the blood and thunder. OK! It's light in plotting, and it's not even Corbucci's best film, but the stylised violence, the visuals and a cracking soundtrack easily take you away from the fodder of the story.

It would spawn a multitude of rip-offs, name checks and influence a whole host of film makers, but this is the real deal. A Spag Western worth revisiting to see just when it was a sub-genre of quality, this before hundreds of poor band wagon jumpers began to soil the Spaghetti Western name. 8.5/10
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Influential western is actually quite good
dbborroughs20 January 2008
Franco Nero stars as Django a drifter who pulls a coffin behind him in a western that spawn well over 50 pseudo-sequels and influenced film makers around the world.

What a strange film.

Barely released in the US this film is a good spaghetti western that isn't as wild as I'm sure it was in the day it was new.

The plot has Django rescuing a woman from two different groups of men to get and then heading off to settle a score with a Major in an all but deserted town. Its a wild trip that for the first two thirds is a twisty western that makes you wonder what in the hell is really going on. The last half hour is a bit of a disappointment in that the twists seem unmotivated and just strange to be strange, although to be honest some of the twists are pretty cool.

This is a gritty dirty western with a wicked sense of humor and a good way to spend 90 minutes.

You'll for give me for not really critiquing it more than that but its hard to talk about some of what happens with out it either sounding unexciting or without giving too much away. If you get the chance do give it a shot.
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Much better than any of the sequels...
CinemaSerf17 November 2019
Like many films of this time/genre you have to be prepared to accept the dodgy dubbing and also, in the case of "Django", some particularly ropey singing by Rocky Roberts in order to give it a chance. If you do that, then you will find it moves along well with lots of shoot 'em ups - a Gattling Gun with an inexhaustible supply of bullets being pre-eminent; glamorous, but totally helpless women and an evil, brooding baddie who has virtually no lines to speak. Oh, and there is a coffin too. Franco Nero - and his legendary blue eyes - delivers his best performance in this Corbucci gem of a film.
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DJANGO (Sergio Corbucci, 1966) ***
Bunuel197624 August 2006
In my review of Corbucci's THE GREAT SILENCE (1968), I had written that it was "superior" to this one; well, having re-acquainted myself with DJANGO now (which, incidentally, I chose to do on my 30th birthday!) - and bearing in mind that my viewing of the former was only the first - I can say that it edges the latter only slightly, as I thoroughly enjoyed Corbucci's most famous Spaghetti Western featuring star Franco Nero's signature role!! While I was disappointed in Blue Underground's DVD transfer, with occasional color fluctuation and rather more severe print damage than I was expecting (considering that it was reportedly taken directly from the original negative), the film really stood up to its reputation as one of only a handful of titles (among them, of course, THE GREAT SILENCE itself) to challenge Sergio Leone's supremacy in the Spaghetti Western subgenre!

Anyway, with respect to the film's terse plot line, it wasn't anything novel or even special: a mysterious loner turns up at a ghost town (in which only the saloon is operative, also lending the service of prostitutes to passing bands of renegade soldiers and Mexican bandits) who, while antagonizing the former, assists the latter in stealing Army gold (which he later runs off with but eventually loses in quicksand!); however, he also finds time to aid a beautiful woman who falls for him (but whom he shuns because of his devotion to a dead spouse). The handling, however, is extremely stylish marking a definite improvement from previous (and largely lackluster) Spaghetti Western efforts by Corbucci, of which I've watched two - the utterly routine MASSACRE AT GRAND CANYON (1965) and the tongue-in-cheek RINGO AND HIS GOLDEN PISTOL (1966)!

The film is also noted for its brutality - a man's ear is graphically slit (anticipating RESERVOIR DOGS [1992] by a quarter of a century!) and fed to its owner, Nero's bloody smashed hands (giving rise to a uniquely memorable climax inside a graveyard), not forgetting the soldiers' callous massacre of Mexican peasants (whom they keep behind a fence and release one by one, like cattle, only to gun them down!) and a striking bar-room fight filmed with a hand-held camera - and some genuinely surreal touches in the script, such as the presence of its coffin-carrying hero (with a large machine-gun device concealed within it!) and KKK-type villains (amusingly, assistant director Ruggero Deodato - whom I met at the 2004 Venice Film Festival, by the way - claims that the crew covered the characters' faces because they were saddled with 'leftovers' to feature as extras!). Besides, the grimy deserted setting is highly effective, while Luis Enrique Bacalov's melancholy and haunting theme tune gave me goose-pimples the first time it came on! - and the acting is above-average as well: Nero emerges as the most satisfactory Clint Eastwood substitute the Italians came up with; he's ably supported by the likes of Eduardo Fajardo (as the villainous Major Jackson), Jose' Bodalo (the bandit chief), Loredana Nusciak (the woman) and Angel Alvarez (the saloon-keeper).

While not as bountiful perhaps as a cult classic such as this would seem to be worthy of, the extras prepared by Blue Underground are certainly well done. These include a short but informative featurette (in which Nero and Deodato are interviewed separately), talent bios for both Corbucci and Nero, an extensive still and poster gallery and the film's theatrical trailer (as well as those, in the form of an Easter Egg, for DJANGO, KILL! [1967], RUN, MAN, RUN [1968] and MANNAJA: A MAN CALLED BLADE [1977] - which had formed, along with the original Blue Underground single-disc release of DJANGO, "The Spaghetti Western Collection" Limited Edition Box Set). As for the short THE LAST PISTOLERO (2002), included on a mini-disc with this re-issue, it is reviewed individually elsewhere.

I haven't watched this film's belated official sequel - DJANGO 2: IL GRANDE RITORNO (1987) - which has been on Italian TV a number of times and, as far as I can tell, have only managed to catch two of the myriad releases to which the iconic title character has been attached - DJANGO SHOOTS FIRST (1966) and DJANGO, KILL!
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"I'm glad I made you feel like a real woman. Very glad."
utgard144 September 2015
A man dragging around a coffin arrives in a muddy border town where he rescues a woman and becomes involved in a struggle between rival groups. Sergio Corbucci's version of A Fistful of Dollars (or Yojimbo, if you prefer), Django stands as one of the better second tier spaghetti westerns. Stylish and violent with nice direction from Corbucci and a good score form Luis Bacalov, including the catchy title song. Franco Nero is a handsome lead but he lacks the screen presence of a Clint Eastwood. He's also badly dubbed with a disconnected voice that doesn't remotely seem like it could come from him (because the unimposing voice belongs to Tony Russel). To make matters worse, Django talks a lot for a "mysterious stranger" type. Despite my complaint about Django's distracting voice, as well as some script gremlins I won't bother getting into, it's still an enjoyable movie. I love spaghetti westerns for their style and fresh approach to a genre that had largely grown stale by the time films like these were made. Some of them, like the ones made by Sergio Leone, were exceptional films that stood with (and sometimes above) the best American westerns. Others, like Django, were simply entertaining time-passers with some memorable elements but not much meat on the bone. Nothing wrong with that. This is a good, but not great, spaghetti western that will please die-hard fans of the subgenre but those seeking something more like Leone's work will likely be disappointed.
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Sergio Corbucci's Third Spaghetti Western
zardoz-137 March 2013
Warning: Spoilers
Sergio Corbucci's third Spaghetti western "Django" has spawned at least thirty imitations. Indisputably, this ranks as Franco Nero's most memorable role, though he acquitted himself admirably in his other Corbucci Spaghettis, most remarkably "The Mercenary." Indeed, Nero cuts a striking figure decked out in Union blue, with a Gothic-looking, wooden coffin that he drags behind him wherever he walks. Django is a wizard with a six-gun. A little over half an hour into the action, Django produces a deadly machine gun from the coffin and decimates Major Jackson's ruffians. Luis Bacalov's orchestral music is as good as anything that Ennio Morricone ever composed for Sergio Leone. The thematic title song resembles something you'd hear in a 1950s era western where title tunes seemed mandatory. Rocky Roberts warbles the tune that provides biographical information about poor Django, his long-lost love, and the likelihood sunshine will follow showers. Nobody escapes fate in "Django." Women are whipped savagely by merciless brutes. Men are beaten, mutilated, and often gunned down in cold blood. One has to eat his own ear after a Mexican slices it off and jams it in his mouth. Murder seems like a reflex action. At least, as many as nine gunmen bite the dust before eight minutes have elapsed. Trust is a commodity rarely shared, unless Django is doing the sharing. Essentially, Sergio Corbucci and his brother Bruno penned the screenplay, with three other scribes, Franco Rossetti, José Gutiérrez Maesso, and Piero Vivarelli. "Django" pits racist Americans against the greedy Mexicans searching for gold to buy an arsenal of guns. Major Jackson rides herd over the Americans, while Hugo dresses like a general at the head of his make-shift army of outlaws. Django, Major Jackson, and General Hugo constitute the chief characters in this revenge-driven drama.

After the opening credits sequence with our hero trudging through the mud, "Django" opens at a rope bridge over a quicksand pit at the border. Four Mexicans tie up a white woman, Maria (Loredana Nusciak of "Gladiators 7"), before they administer lashes with a bullwhip. Suddenly, as the Mexican is about to deliver the twelfth lash, five hombres with red scarves drop the Hispanics in a hail of gunfire. They cut the woman loose, and they plan to dispose of her anyway. Django guns them down before they can hurt her. One survives, and Django shoots him. The poor wretch vanishes in a quicksand pit. Django escorts Maria to town. He enters a saloon that doubles as a bordello. Nathaniel the Bartender (Ángel Álvarez of "Navajo Joe") initially refuses to let Maria spend the night. Django intervenes and pays for her room. Nathaniel describes the town as "neutral." He explains they must try to please both Major Jackson's Southerners and Hugo's banditos. "But for the privilege of staying alive we sure pay dearly." Meantime, Major Jackson (Eduardo Fajardo of "The Mercenary") abhors Mexicans. When we first see him, he is shooting Mexican peasants down in cold blood. He has them lined up in a stable and releases one at the time to run. The sadistic Jackson waits until the Mexicans have scrambled to comparative safety before he brings them down with his long-barreled Winchester repeating rifle. At the bar, Jackson confronts Django with four pistoleros. Django guns them down in heartbeat, even Ringo (José Terrón of "For A Few Dollars More") who stood behind him! Nevertheless, Django doesn't shoot Jackson. Instead, he lets Jackson live and challenges him to return with all of his men.

Eventually, when Jackson returns with his army, Django pulls out a machine gun and mows them down. Jackson flees in humiliation. He falls off his horse and gets mud smeared over his face. Ironically, he is no longer white-skinned, the epitome of everybody he hates. Later, Django joins forces with General Hugo Rodriguez. They know each other, and Hugo knows Django is a desperado. The General (José Bódalo of "Companeros") requires money for guns so he can win the revolution. Django convinces him to rob the Major of his fortune and wipe out the Mexican soldiers with whom the Southerner is working. Afterward, Hugo refuses to divide the loot up with Django. Django insists Hugo hand him his share. Hugo stonewalls Django. Instead, he shows Django where the gold will be held. Later that night, Django fools everybody into believing that he is having sex with a beautiful girl while he is lugging his coffin to the room where the gold is stored. This has got to be the most unwieldy thing in this western. Django has to climb and cross roofs with the coffin in his clutches lest it give him away. This wrinkle in the plot resembles the last quarter hour of "For A Few Dollars More." Django rigs up a booby trap toward the end when he swipes the gold. He fixes the machine gun to pour out a burst of fire. Of course, the machine gun couldn't have fired as many rounds as the one in "Django." After Hugo has his men smash Django's hands, he rides into an ambush courtesy of Major Jackson and the Mexican cavalry. The final shoot-out at the cemetery is memorable.

Sergio Corbucci did more things than Sergio Leone ever dreamed of with the American western. Corbucci borrows a similar script element from Leone when the hero is beaten savagely. Although the Clint Eastwood character suffered damage over most of his body, the Mexicans confine themselves to smashing Django's hands. Despite having his hands broken, our resourceful hero survives the fray. Indeed, this is no picnic for our hero who is forged in a fire. After the robbery, the plot veers toward a "For A Few Dollars More" scene. Jackson's men look truly distinctive in their scarlet hoods. "Django" qualifies as a classic Spaghetti western!
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Inferior Leone 'homage'
JoeytheBrit25 July 2007
Warning: Spoilers
Sergio Corbucci's Django is really nothing more than an inferior rip-off of Leone's Man With No Name films but with the kill quotient ramped up and the single original touch of having its anti-hero (Franco Nero in Clint-clone mode) dragging a coffin behind him as he emerges from the desert and wanders into a strangely muddy desert town. When confronted with resident bad guy Major Jackson's 48 bad guys, Django whips a gatling gun from the coffin and mows them down in a murderous orgy.

The story is fairly straightforward, employing the same ambiguity used by Leone to keep the viewer guessing which side Django is actually batting for, but unfortunately it is also relentlessly dull after the opening ten minutes. Franco Nero is no Clint, but he does look the part, while the rest of the cast are Italians nobody has heard of, badly dubbed by people who can't act.

Difficult to understand why this has spawned so many sequels – and frightening to think how bad most of them must be if the usual law of diminishing returns in regard to sequels applies.
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A Story with Lots of Action
Uriah4311 August 2013
A cowboy dragging a coffin happens to come across three Mexican bandits in the process of whipping an attractive young woman named "Maria" (Loredana Nusciak) for trying to escape. Suddenly, five gringos appear and kill the bandits. They then decide to crucify Maria for prostituting herself with the Mexicans. The cowboy, named "Django" (Franco Nero) then draws his gun and kills all 5 gringos and frees Maria. Grateful for having saved her life, Maria follows Django into a muddy town situated on the American side of the Mexican border. What transpires is a story about a man seeking vengeance in a town surrounded by two armed forces, one a militia of white militants led by "Major Jackson" (Eduardo Fajardo) and the other a group of Mexican revolutionaries led by "General Hugo Rodriguez" (Jose Bodalo). Those who enjoy a story with lots of action without regard to any semblance of realism will probably love it. On the other hand, those who like a story grounded in reality may not care for it too much. Personally, I found myself somewhere in the middle. I enjoyed the action in many of the scenes and the similarity to other spaghetti-westerns like "A Fistful of Dollars". Likewise, the presence of a couple of beautiful actresses like Silvana Bacci (as the Mexican barmaid) and the aforementioned Loredana Nusciak certainly didn't hurt the film either. Even so, I wasn't quite able to fully accept some of the other rather preposterous scenes which had me shaking my head in disbelief. All things said then, I rate it as average.
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A man and his coffin
movieman_kev12 April 2005
Franco Nero is Django, a man dragging a coffin behind him, seeking vengeance for the wrongs dealt to him and his loved one in the Western staple. When we first meet him he saves a hybrid girl from being horse-whipped. But which side is he playing for, and where do his loyalties really lie? Very enjoyable and the theme song is great, but avoid the dubbed version I implore you, as it's one of the worst one I've ever heard. Perhaps not as well known or as good as "the Man with No Name" trilogy, but well worth seeing none the less.

My Grade: B

Blue Underground DVD Extras: Part of BU's Spaghetti Western Collection. "Django- The One and Only" (13 minute documentary); Poster & Stills gallery; Talent Bios for Sergio Corbucci and Franco Nero; Theatrical Trailer (I have this film released by Anchor Bay as well, and while the BU version is superior, I'm keeping that one too because it has a nifty Django shoot out game and came paired with "Django Strikes Again")

Easter Eggs: Highlight the coffin for Trailers of "Django Kill!", "Run, Man, Run", and "A Man called Blade"
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Cult Spaghetti Western with Django dragging his coffin
Wuchakk26 January 2019
A mysterious stranger dragging a coffin (Franco Nero) saves a prostitute named Maria (Loredana Nusciak) and waltzes into a neutral border down that services both a private militia of ex-Rebels led by Major Jackson (Eduardo Fajardo) and a small army of Mexican revolutionaries, led by General Hugo (José Bódalo). Meanwhile there's gold to be had.

Released in 1966, "Django" (pronounced JANG-oh) is a cult Euro Western highlighted by its star and the typical cartoonish flourishes of the genre. Franco Nero and his Spaghetti Western lookalike, Terence Hill, represented the Euro-version of Clint Eastwood. To be expected, the characters are cardboard caricatures and there's a lot of brutal violence that's so sadistic and overdone it's comical. Fifteen men are dead by the 20 minute mark with 40 more shortly later in a machine gun bloodbath. A mere half hour later there's a second machine gun assault lacking any artistic finesse whatsoever. It has to be seen to be believed and bespeaks of moviemaking for 13 year-olds.

Considering what's in Django's coffin, the way he drags it around isn't practical for more than 100 yards. The manner he awkwardly slogs it about is especially incredulous during the gold theft sequence where, curiously, no one sees or hears him. Why Sure!

When do these events take place? The death date on Mercedes Zaro's tombstone says 1889, but Django's wearing spiffy Union trousers and the ex-Reb soldier's suggest that it's only a year or two after the Civil War. Yet the standard lever-action rifles imply around 1880 and Django's quasi-Maxim machine gun points to no earlier than 1884. Nonsensical chronology like this indicates sloppy writing.

Tarantino took elements of "Django" and other Spag Westerns to forge the outstanding "Django Unchained" (2012), which makes "Django" & most Euro Westerns of the 60s and early 70s pale by comparison. The title song by Luis Bacalov is good though and Nusciak is striking in an icy way.

The film runs 1 hour, 31 minutes (with censored versions running 3-4 minutes less) and was shot in Madrid, Spain, and Lazio, Italy.

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Lovely little Leone tribute!
The_Void6 January 2005
As soon as the familiar Spaghetti Western tones hit, you know you're going to be in for a treat and that's what this film certainly is. Franco Nero plays the character that would eventually become synonymous with his name; the mythical Django. The story takes more than it's fair share of influence from Sergio Leone's 'Dollar' trilogy, and the plot of this film is pretty much a re-run of the plot that Leone took from Kurosawa's Yojimbo to make 'A Fistful of Dollars'. We follow the title character, a man that carries his 'burial suit' around with him (that's a coffin to you and me) and saves a young woman from being killed by a group of bandits. When Django takes her back to town, he finds himself in the middle of a feud between those bandits and a group of Mexicans, a situation that he hopes to make the best of for himself...

It's impossible not to see how Leone's westerns have influenced this film. However, Sergio Corbucci hasn't merely stolen and the result is somewhat original. The classically styled score blends well with the images shown on screen, and some of the sequences in the film are truly powerful. Franco Nero may well be no Clint Eastwood, but he brings charm and credibility to his character and does well with the role, even if he is perhaps slightly too pretty to pull it off to the extent that it could have been done to. The film features lots of mud (yes, mud), and this gives it the dirty, downtrodden feel that is congruent with what audiences have come to expect from the spaghetti western sub-genre. The title tune, which is about the central character is very over the top, and almost comes across as being comical; but it's a part of the Django film and like the rest of it; very fun and easy to like. If you like Leone's westerns (and let's face it, who doesn't?), you'll like this.
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overlooked but still a classic
trashgang17 January 2013
Overshadowed and overlooked due the major success of The Good The Bad And The Ugly (1966) it became a classic in the Western genre and started a franchise of Django and is spoken about even nowadays. Just look at Django Unchained (2012) by Tarantino and in fact nothing to do with the original one.

Franco Nero plays Django (and does a cameo in Django Unchained) and it started a career for him in classics as Enter The Ninja (1981) and Die Hard 2 (1990).

Is it worth seeing, yes of course because the hero do gets hurt. But still he's the hero even as he do bad things. It's also so typical Italian, with extra overdubbing like for example the wind. You recognize it surely from horrors. And of course full of goofs like being shot without blood running out for example.

The story itself is very simple, Django saves a girl and always carries a coffin with him. Two gangs, Mexican and white are searching for Django because he save the girl. What I never did understand is the fact that always you read that the white represent the KKK. Their just a bunch of scum wearing red bags over their heads and asking for money.

It's played in a very muddy city and the clothes are always dirty. There's a catfight going on in the mud and one girl do strip before a window, not revealing anything but for that time it must have been something wild.

All acting is done in Italian, may Franco be the only one who made it abroad as an Italian. A classic and must see.

Gore 1/5 Nudity 0/5 Effects 2/5 Story 3/5 Comedy 0/5
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