By far the most ambitious, unflinchingly graphic and stylistically influential western ever mounted, The Good, the Bad and the Ugly is an engrossing actioner shot through with a volatile mix of myth and realism.
Clint Eastwood returns as the “Man With No Name,” this time teaming with two gunslingers (Eli Wallach and Lee Van Cleef) to pursue a cache of $200,000 – and letting no one, not even warring factions in a civil war, stand in their way.
From sun-drenched panoramas to bold, hard close-ups, exceptional camera work captures the beauty and cruelty of the barren landscape and the hardened characters who stride unwaveringly through it. Forging a vibrant and yet detached style of action that had not been seen before, and has never been matched since, The Good, the Bad and the Ugly shatters the western mold in true Clint Eastwood style. —MGM
Sergio Leone was virtually born into the cinema – he was the son of Roberto Roberti (aka Vincenzo Leone), one of Italy’s cinema pioneers, and actress Bice Valerian. Leone entered films in his late teens, working as an assistant director to both Italian directors and American directors working in Italy (usually making Biblical and Roman epics, much in vogue at the time). Towards the end of the 1950s he started writing screenplays, and began directing after taking over Gli ultimi giorni di Pompei (1959) in mid-shoot after its original director fell ill. His first solo feature, Il colosso di Rodi (1961), was a routine Roman epic, but his second feature, A Fistful of Dollars (1964), a remake of Akira Kurosawa’s Yojimbo (1961), caused a revolution. Although it wasn’t the first spaghetti Western, it was far and away the most successful, and shot former TV cowboy Clint Eastwood to stardom (Leone wanted Henry Fonda or Charles Bronson but couldn’t afford them). The… read more
Caracterizando para descaracterizar: esta é uma boa definição para esse filme. E justo pelo fato do trielo de adjetivos em seu título original (bom, mau e feio) moldarem os personagens do filme por si só, guiando Leone para um conflito de desmitificação de tal ato, impondo os homens como misturas homogêneas perante Deus e a cobiça – nenhum deles é o que parece, salvo pela origem animal e selvageria | Bruno Barrenha
With Spaghetti Westerns, commercial cinema provided a lively and genuine commentary on the growing radicalization of the Italian left.
Sergio Leone’s masterful example of film-making in its purest form, The Good, The Bad and The Ugly could arguably be called the greatest genre film of all time. There is something mystical, un-explainable… read review
English Title: The Good, the Bad and the Ugly
Original Title: Il buono, il brutto, il cattivo
Country: Italy, Spain
Genre: Western, Adventure
Director… read review
During the 1960s, Hollywood had grown largely tired of Western, which was increasingly viewed as a stodgy and hokey relic of another era. Sergio Leone thought it differently. He sensed that the genre… read review
Sergio Leone’s Man with No Name trilogy was the fruition both of the dying myth of the Old West and the Italian’s recognition of the demise of a myth that America had clung onto too firmly. In his… read review