The Good, the Bad and the Ugly (1966)
Director
Sergio Leone
Main cast
Eli Wallach; Clint Eastwood; Lee Van Cleef; Aldo Giuffrè; Luigi Pistilli
Genres
Western
Description
While the Civil War rages between the Union and the Confederacy, three men â a quiet loner, a ruthless hit man and a Mexican bandit â comb the American Southwest in search of a strongbox containing $200,000 in stolen gold.
Sergio Leone
Main cast
Eli Wallach; Clint Eastwood; Lee Van Cleef; Aldo Giuffrè; Luigi Pistilli
Genres
Western
Description
While the Civil War rages between the Union and the Confederacy, three men â a quiet loner, a ruthless hit man and a Mexican bandit â comb the American Southwest in search of a strongbox containing $200,000 in stolen gold.
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In this tribute to the old time spaghetti westerns with a liberal dose of modern Hong Kong film-making thrown in, Emilio Estevez assumes Clint Eastwood's "man with no name" role. Estevez plays a super-quick gunman on the run from a rancher (Long) and his men out to kill him for killing his son. The gunman gets mixed up with a former Confederate soldier (William Forsythe) who has knowledge of hidden gold. The only trouble is he is also pursued by Union soldiers. When they free a man (Ed Lauter) with part of the map to the gold, they then are also pursued by Spanish soldiers. It all leads to a small Mexican town terrorized by soldiers and led a by a good priest (Joaquim De Almeida) who also has knowledge of the gold.
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Mexican outlaw Django is part of a band of thieves that steal a cargo of gold from a stagecoach. However, the Americans in the band betray him, and shoot all the Mexicans. Django is not completely dead though, and crawls his way out of his shallow grave, continuing his pursuit of the gold, and exacting a bloody vengeance.
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György Szomjasâs first featureâmade after a decade of short documentariesâis a bold attempt at a goulash western, set on the puszta, or Great Hungarian Plain, in 1837. Mixing Miklós Jancsó imagery and a Sergio Leone narrative, this ballad-like saga opens with image of a lone horseman on the empty plain, riding past a rude gallows. The film concerns the vengeful return of a legendary betyár (outlaw), briefly a hero to the local herdsmen who oppose the state building a canal across their grazing land. Although Szomjas works from ethnographic records and archival material, it is hardly surprising that this violent, primitivist film would be more popular with Hungarian audiences than critics. Replete with young guns, crooked sheriffs, tavern brawlers and hardbitten plug-uglies, this widescreen film is strikingly shot by Elémer Ragályi (cinematographer for most of Gyula Gazdagâs films)âa feast of loamy, autumnal colors.
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