Il buono, il brutto, il cattivo

While the Civil War rages on between the Union and the Confederacy, three men – a quiet loner, a ruthless hitman, and a Mexican bandit – comb the American Southwest in search of a strongbox containing $200,000 in stolen gold.

Credits: TheMovieDb.
Il buono, il brutto, il cattivo
Overview:
While the Civil War rages on between the Union and the Confederacy, three men – a quiet loner, a ruthless hitman, and a Mexican bandit – comb the American Southwest in search of a strongbox containing $200,000 in stolen gold.
Cast:

• Blondie: Clint Eastwood
• Tuco Ramirez: Eli Wallach
• Sentenza / Angel Eyes: Lee Van Cleef
• Alcoholic Union Captain: Aldo Giuffrè
• Father Pablo Ramirez: Luigi Pistilli
• Maria: Rada Rassimov
• Storekeeper: Enzo Petito
• Tuco Henchman: Claudio Scarchilli
• Bill Carson / Jackson: Antonio Casale
• Baker: Livio Lorenzon
• Tuco Henchman: Sandro Scarchilli
• Member of Angel Eyes’ Gang: Benito Stefanelli
• Monk: Angelo Novi
• Stevens: Antonio Casas
• Member of Angel Eyes’ Gang: Aldo Sambrell
• One-Armed Bounty Hunter: Al Mulock
• Blonde Bounty Hunter: Sergio Mendizábal
• Captain Harper: Antonio Molino Rojo
• Clem: Lorenzo Robledo
• Corporal Wallace: Mario Brega
• Stevens’ Wife (uncredited): Chelo Alonso
• 1st Sombrero Onlooker at Tuco’s 1st Hanging (uncredited): Fortunato Arena
• Bounty Hunter (uncredited): Román Ariznavarreta
• Mexican Woman with Blondie (uncredited): Silvana Bacci
• Old Soldier (uncredited): Joseph Bradley
• Bounty Hunter #2 (uncredited): Frank Braña
• 2nd Sombrero Onlooker at Tuco’s 1st Hanging (uncredited): Amerigo Castrighella
• Bounty Hunter (uncredited): Saturno Cerra
• Confederate Soldier (uncredited): William Conroy
• Dying Confederate Soldier (uncredited): Axel Darna
• Deputy (uncredited): Tony Di Mitri
• Deputy at 1st Hanging (uncredited): Gianni Di Segni
• Spectator Before Hanging (uncredited): Alberigo Donadeo
• 3rd Sombrero Onlooker at Tuco’s 1st Hanging (uncredited): Attilio Dottesio
• Soldier Coat (uncredited): Luis Fernández de Eribe
• Bald Onlooker at Tuco’s 1st Hanging (uncredited): Veriano Ginesi
• Pardue the Hotel Owner (uncredited): Jesús Guzmán
• Sergeant at Confederate Fort (uncredited): Víctor Israel
• Mexican Bounty Hunter (uncredited): Nazzareno Natale
• Barista a Socorro (uncredited): Ricardo Palacios
• Old Sergeant (uncredited): Antonio Palombi
• Member of Angel Eyes’ Gang (uncredited): Romano Puppo
• Stevens’ Youngest Son (uncredited): Antoñito Ruiz
• Pistolero Recruited by Tuco in the Cave (uncredited): Aysanoa Runachagua
• Mexican Bounty Hunter (uncredited): Enrique Santiago
• Thomas ‘Shorty’ Larson (uncredited): José Terrón
• Union Soldier with Cigar (uncredited): Franco Tocci
• Mexican Bounty Hunter (uncredited): Antonio Montoya

Crew:

• Story: Sergio Leone
• Director of Photography: Tonino Delli Colli
• Production Design: Carlo Simi
• Producer: Alberto Grimaldi
• Story: Luciano Vincenzoni
• Editor: Eugenio Alabiso
• Original Music Composer: Ennio Morricone
• Editor: Nino Baragli
• Screenplay: Agenore Incrocci
• Screenplay: Furio Scarpelli
• Makeup Artist: Rino Carboni
• Assistant Art Director: Carlo Leva
• Stunts: Román Ariznavarreta
• Special Effects: Eros Bacciucchi
• Special Effects: Giovanni Corridori
• Production Supervisor: Aldo Pomilia
• Production Manager: José Antonio Pérez Giner
• Production Manager: Gray Frederickson
• Stunts: John Landis
• Assistant Director: Fabrizio Gianni
• Camera Operator: Franco Di Giacomo
• First Assistant Camera: Sergio Salvati
• Stunts: Fabio Testi
• Music Director: Bruno Nicolai
• Still Photographer: Angelo Novi
• Additional Dialogue: Sergio Donati
• Stunt Coordinator: Benito Stefanelli
• Stunts: Luigi Ciavarro
• Stunts: Romano Puppo
• Sound Engineer: Elio Pacella
• Musician: Alessandro Alessandroni
• Musician: Italo Cammarota
• Musician: Francesco Catania
• Script Supervisor: Serena Canevari
• Musician: Nino Dei
• Musician: Franco De Gemini
• Musician: Vincenzo Restuccia
• Assistant Director: Giancarlo Santi
• Special Effects: Antonio Baquero
• Musician: Enzo Gioieni
• Hairdresser: Rino Todero
• Production Manager: Fernando Cinquini
• Stunts: Valentino Pelizzi
• Sound Mixer: Fausto Ancillai
• Title Designer: Igino Lardani
• Foley Artist: Aldo Ciorba
• Sound Engineer: Vittorio De Sisti
• Musician: Franco Cosacchi
• Musician: Edda Dell’Orso
• Musician: John O’Neill
• Colorist: Nazzareno Neri
• Musician: Cantori Moderni Di Alessandroni
• Grip: Domenico Parrello
• Musician: Gianna Spagnolo
• Musician: Nicola Samale
• Musician: E. Wolf Ferrari
• Production Assistant: Carlo Bartolini
• Dialogue: Mickey Knox
• Musician: Michele Lacerenza
• Production Assistant: Federico Tofi
• Musician: Bruno Battisti D’Amario
• Production Secretary: Luigi Corbo
• Production Secretary: Antonio Palombi

Catogories:
Western
This is another unbelievable extension!!

For three men the Civil War wasn’t hell. It was practice.
Language:
Italiano
Production:
United States of America,Italy,Spain,Germany
Company:
United Artists,PEA,Arturo González Producciones Cinematográficas,Constantin Film
Popularity:
100.709
Date:
1966-12-22
Year:
1966

• John Chard: I’m looking for the owner of that horse. He’s tall, blonde, he smokes a cigar, and he’s a pig!

  It’s debatable of course, since there are legions of fans of the first two films in Sergio Leone’s Dollars Trology, but with each film there not only came a longer running time, but also a rise in quality – debatable of course!

  Here for the third and final part of the trilogy, Leone adds Eli Wallach to the established pairing of Lee Van Cleef and Clint Eastwood, and brings all his tools of the trade to the party. Plot is slight, the three principals are on a collision course to find some buried gold, with each man having varying degrees of scuzziness, so how will it pan out?

  Such is the genius of the narrative, it’s a fascinating journey to undertake. The characterisations are ripe and considered, the various traits and peccadilloes beautifully enhanced, and with Leone being Leone, there’s no shortage of cruelty and humour. He also brings his style, the close ups, long shots and some outstanding framing of characters in various situations.

  The story encompasses The Civil War, which pitches our leads into “The Battle of Branston Bridge”, where here we get to see just how great Leone was at constructing full on battle sequences. It’s exciting, thrilling and literally dynamite, whilst Aldo Giuffrè as Captain Clinton turns in some memorable support.

  The Euro locations pass muster as the Wild West, superbly photographed by Tonino Delli Colli, and then of course there is Ennio Morricone’s musical compositions. It’s a score that has become as iconic as Eastwood’s Man With No Name, a part of pop culture for ever more. It mocks the characters at times, energises them at others, whilst always us the audience are aurally gripped.

  There’s obviously some daft coincidences, this is after all pasta world, and the near three hour run time could be construed as indulgent. But here’s the thing, those who love The Good, The Bad and the Ugly could quite easily stand for another hour of Leone’s classic. I mean, more barbed dialogue, brutal violence and fun! Great, surely!

  From the sublime arcade game like opening credit sequences, to the legendary cemetery stand-off at the finale, this is a Western deserving of the high standing it is held. 9/10

• CRCulver: Sergio Leone’s The Good, the Bad, and the Ugly is a classic Western film. Clint Eastwood is the Good, aka the Man with No Name, a taciturn wanderer who follows his own sense of justice. His opposite is Angel Eyes (Lee van Cleef), the Bad, a brutal mercenary who kills anyone who stands in the way of making ready cash. The film’s comic relief is Tuco (Eli Wallach), the Ugly, a Mexican bandit wanted in several states who ends up inadvertently doing some good turns. At the height of the Civil War, as Union and Confederate armies battle each other in the West, these three men vie for an abandoned cache of gold coins.

  The film is especially memorable for its pace and cinematography. The opening scene, for example, juxtaposes closeups of anxious faces with vast panoramas of the Western landscape, and 10 minutes passes before a single word is said. It is like Tarkovsky transplanted to a vastly different setting. That’s not to say it’s all so serious, though. In a sense the film is a “two buddies on the road” movie, with Tuco the wisecracker and Eastwood’s character the straight man. It is also a war film, with Leone apparently sparing no expense in presenting a realistic image of hundreds of men charging each other on the battlefield. This is not among the greatest films I’ve ever seen, but it’s very well-made.

  Because this is a “spaghetti Western”, an effort in the genre realized by a joint Italian-Spanish production team with American lead actors, the film has some curious qualities. Because of the use of locals, all the faces of Civil War soldiers are so clearly Italian, even though Italian immigration into the US picked up only later. The Mexican bandit Tuco is played by a Jew from New York, and furthermore Leone mocks the character’s Catholicism in a way that Americans of the era would, although the faith would be in no way foreign to his Italian audience.

• Peter McGinn: I am not a fan of Sergio Leone. In fact, this movie and Once Upon a Time in the West are the only movies of his that I have seen. But I think they are both classic westerns. He seems to bring out the best in his cinematographer, both for scenery and for his characters.

  In one review I read, he was criticized for staying with facial close-ups too long, and I would probably agree if he populated his movies with beautiful actors and actresses as many films do, but he relies heavily upon actors with interesting faces.

  Sometimes I feel he relies on too many shootings, and on having his gunfighters be too damn good. Two, four, six opponents? Doesn’t matter, these guys kill them all and come out unscathed. But that is part of the western movie gunfighter mystique.

  On a different level, I have owned the soundtrack for this movie: The Good the Bad and the Ugly, for close to 50 years. I write novels in my spare time, and I started listening to this soundtrack (plus others like Thunderball) for background music as I wrote. I moved on to Ambient music, such as Brian Eno, but still listen to this album. As a side note, I heard a great version of this movie music on YouTube, performed by the Danish National Orchestra. Check it out.

  So the movie works for me on multiple levels, and I own a copy so I can watch it any time the mood strikes me

• DrewBlack: There is one word to define The Good, The Bad and The Ugly. And that word is “transcendent”. This movie is not only the pinnacle of the Spaghetti Western, but it transcended into the pinnacle of the Western genre in itself. It’s safe to say it transcends that too, and can be considered one of the greatest pieces of filmmaking ever. It counts with memorable performances by three different leads, a story that breaks the “black and white” concepts of morale, and an original score that can only be defined by the word “epic”.

  Directed by the man responsible for the revitalization of the western in Italy, Sergio Leone, the film does an incredible job of introducing every character, and showing each and every one has a dubious concept of moral values. “The Bad”, Sentenza, or Angel Eyes (Lee Van Cleef), is shown to be a ruthless, greedy gun for hire, but also someone who lives by the mantra of always getting the job done. “The Ugly”, Tuco, is a greedy backstabber, but he is also a man who comes from an extremely poor environment and family conflicts, showing a bit of determinism in the film. “The Good”, Blondie (Clint Eastwood) is not much better himself. While he is surely the less greedy one, he also has no problem with killing and backstabbing other people. To put it in perspective, he is ironically announced as “The Good” right after abandoning a man to die in the desert.

  The story follows all these three personalities as they engage in their particular gold rush: a buried treasure that is hidden in a cemetery. In order to find it, they must form an uneasy alliance, while trying to outrun each other, and claim the prized gold alone. All of this while the Civil War happens around them.

  The performances are nothing short of amazing. It goes to show the range that Lee Van Cleef had once this villainous role is compared to his work in the previous installment of the trilogy, For a Few Dollars More, as a heroic, friendly and almost fatherly figure. His presence is as intimidating as ever, and one of the best he has given in his lengthy career. Eastwood is as eye-catching as one would expect: his deep stares and lines delivered in a whispery, yet gravelly voice, defined The Man With No Name. But the best of the bunch has to be Eli Wallach. His comedic timing is as precise as any bullet shot in this film. But the most outstanding part of his characterization is that while he is extremely funny, he also manages to be a credible threat for the “hero”, Blondie.

  The original music score for this film deserves a whole book just to talk about it, and it still wouldn’t do it justice. It’s simply a lesson by the maestro, Ennio Morricone, on how music can change a film. Thanks to a track such as L’estasi dell’oro (The Ecstasy of Gold), a man running around a cemetery becomes one of the most epic scenes ever made. Thanks to a composition such as Il Triello, three men staring at each other, pondering their options for almost seven minutes straight, becomes tense enough to have the viewer on the edge of its seat. There is simply no other way to put it: Morricone crafted one of the best scores in this art’s history.

  At the end of the day, The Good, The Bad and The Ugly is more than just a great western film. It’s a show of great acting, writing, directing and music scoring. It’s a real once in a lifetime classic, that has been around for a long time, and not aged a little bit, and will still be talked about for generations of cinephiles to come. To conclude, all I can say is… There are two kinds of people, my friend. Those who have watched this film, and those who have not. You watch.

• JPV852: Solid western, which generally isn’t a favorite genre of mine, with great performances and some well shot scenes and landscapes. Been a long time since I saw A Fistful of Dollars or For a Few Dollars More, but this is a great entry in the “Man With No Name” Trilogy. **4.0/5**
• r96sk: Very good no doubt about it, even if I feel it’s an odd fitting third installment of the Dollars trilogy.

  In case this review sounds negative at any point, I wanna explicitly state for the avoidance of any doubt that ‘The Good, the Bad and the Ugly’ is very good! Any cons noted are relative.

  I just feel like it’s a drop-off from the brilliant double of ‘A Fistful of Dollars’ and ‘For a Few Dollars More’. The near 3hr run time is one of the reasons, though the pacing is actually pretty good in fairness. I guess it’s more so the plot, which is filled with an American Civil War setting which I didn’t feel matched the characters.

  The man in the middle/bounty hunting aspects of the original two films are perfect for the characters of Clint Eastwood & Co., whereas them tagging along for the war just felt odd; the story didn’t feel as raw or volatile to me.

  As stated, it’s still – on its own merits – an entertaining western. Eastwood remains quality, while Lee Van Cleef and Eli Wallach are extremely worthy onscreen counterparts. I will say Van Cleef feels forgotten about, probably just by me, towards the end until he magically reappears. Still, as a trio they are really enjoyable. The plot away from the war is properly fun, much more in keeping to what I was expecting. The score is also awesome, yet again.

  Minus the ACW and a shorter run time and I’d probably be classing this as great as AFOD and FAFDM. It’s still very good though, which I evidently want to stress, and I’d definitely revisit it.

  watched: “Extended English-language version”.
  Even though this version is the same as the original Italian release (177 minutes), but seemingly the US shortened run time is considered the true incarnation? Odd.

• drystyx: Not as bad as the other Leone Westerns.
  Still, that is not saying much at all.
  At 3/10, this is better than his totally ridiculous ones.
  It’s still a dull movie with non credible one dimensional characters who have no motivation for a single thing they do.
  Three homicidal maniacs who are called good, bad, and ugly, but really they’re all just bad and ugly.
  Eli Wallach steals the show. I think most people agree with me on that, and for some people he saves the show, but I need better writing, and more “credible characters in incredible circumstances” than we get with Leone.
  Blondie (Eastwood) kills anyone he sees in the wild. He kills other bounty hunters to steal their prisoner to bring in for rewards.
  It’s a good thing we didn’t have Allied soldiers like Blondie, or else all Germans would have to do to win the war would be surrender and let American GIs kill each other to steal prisoners to bring in. Imagine that. We would have lost WW2 if our soldiers were like Blondie (or Manko, or whatever his name was).
  The attempts to humanize the homicidal maniacs played by Clint and Eli only work for the brain dead idiots who buy into that. Such brain dead idiots don’t last long in the hood or in volatile situations. Sadists do not get human. They only act human at times to get innocent victims to lower their guard.
  The three man shootout at the end is stolen from the pair of movies “The Jackal” and “Yellow Sky”, and I’m not sure if it’s better or not. Neither one is in a top one hundred all time movie gunfights or showdowns. It’s weak and stupid.
  But when the spaghetti Westerns came out, the drug abusers and potheads loved them, and demanded they be acclaimed. The critics were either scared of the druggies or were druggies themselves, because the critics were bigger hacks than Leone for praising this garbage.
  How long will we endure the crack head idolization of this garbage? Probably another 30 years or so, until we get some mature viewers who are willing to make up their own minds about what is classic, instead of being sheep.
  Yep, Eli spoke of sheep in another Western, but it fits here.
  I give it a grade on a curb to make it 3/10, although compared to 1950s Westerns it is 1/10, but I’m lenient, because it isn’t as bad as the other Leone Westerns. It isn’t exactly “watchable”, and you will fall asleep if you take it in one viewing, but the other Leone Westerns are even more boring than this one. Eli Wallach does do a great job, and for some people, that’s enough.
• Filipe Manuel Neto: **One of the best, most famous and most iconic Westerns ever. More than a classic, it’s mandatory.**

  I’m not an expert nor do I want to sound like one, but I think this is one of the most famous western films ever made, despite being shot by an Italian director and being more European than American. Sérgio Leone was one of the most notable directors of his time and he left us, in this film, one of his masterpieces.

  This is one of those movies that is almost perfect. Problems and failures are scarce and reside in minimal details that end up not making a big difference in the overall work. The story was very well written and takes place in the midst of the American Civil War, a time when violence was part of everyday life. In this environment of violence and mutual distrust, two men are looking for a treasure buried in a cemetery: the problem is the fact that each one knows only part of the location (that is, one knows the location of the cemetery and the other knows which grave it is) and there is a third man, a fearsome assassin, willing to do anything to take all the gold.

  For this film, Leone put together a very reasonable cast, mostly European, and three great North American actors with enormous talent: Clint Eastwood, Eli Wallach and Lee Van Cleef. I believe that they knew how to make the most intelligent and skilful use of this film, giving us a truly remarkable job. For this three actors, this is the best cinematographic work of their career, or one of the best, consecrating them as great Western movies actors. The film, however, seems to give Wallach more and better opportunities. While watching it, I got the feeling that he is the actor who receives most attention and best material, in addition to having known how to improvise at the right moments and in creative and intelligent ways.

  The film has great visual beauty, emphasized by the cinematography, the filming work and the good choice and design of sets and costumes. At a time when the correct period recreation was something that cinema sometimes blatantly ignored, this film did the opposite, giving us a realistic and believable vision of the past and placing the film in a specific place and time. I’m not saying it was a one hundred percent successful effort, but it was definitely a decisive step in the right direction when it comes to period films. The special effects and visuals are excellent, the best there was then, and the whole film has an epic, grandiose, expensive feel. It is also very long, with almost three hours in length, but it is worth not being afraid or giving up on because of that. Being a Western film, it is quite evident that there is a lot of violence, so it is not a film for children. Even so, it is not gratuitous violence. Finally, we owe Ennio Morricone a salute for the excellent soundtrack he composed. Among his vast work, this is not my favorite nor the best, but it is undoubtedly one of the most recognizable and iconic pieces, a work that we know, even without having seen this film, and that has become part of our collective memory. We can’t ask for more than that.

• CinemaSerf: People tended to treat Sergio Leone’s work with a considerable degree of disdain, but watching this in 2020 it is still amongst the very best of the genre. A good-looking, calculating Clint Eastwood (“The Good”), is the itinerant bounty hunter who has an uneasy partnership with a scene-stealing Eli Wallach (“The Ugly) to trick the local authorities of the reward money due for his capture before escaping and dividing the spoils. They happen upon a recently robbed stagecoach where they learn of the whereabout of a huge stash of gold – but they both possess different clues as to the location, so must – despite themselves – work together to track down the loot. Meantime, a thoroughly nasty Lee Van Cleef (“The Bad”) hears about their treasure hunt and is now joined in the race to the money. There is a paucity of dialogue that only enhances their performances – there are bouts of humour and although the premiss is pretty violent, there is actually very little by way of grisly, gory depiction seen on screen. The scene near the end in the graveyard with the magnificent Morricone “Ecstacy of Gold” theme is as good as Westerns get. The editing is not great, it has to be said – but the cinematography gives a great showcase to the scale and grandeur of the locations. Not a word I use often, but this really is a masterpiece of the cinema.