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Purchase Il buono, il brutto, il cattivo (1966) Movie Online and Download - Sergio Leone 🎥
Year:
1966
Country:
USA, Italy, Spain, West Germany
Genre:
Action, Adventure, Western
IMDB rating:
8.9
Director:
Sergio Leone
Eli Wallach as Tuco
Lee Van Cleef as Sentenza
Aldo Giuffrè as Alcoholic Union Captain
Luigi Pistilli as Father Pablo Ramirez
Enzo Petito as Storekeeper
Claudio Scarchilli as Mexican peon
John Bartha as Sheriff (as John Bartho)
Antonio Casale as Jackson / Bill Carson
Sandro Scarchilli as Mexican peon
Benito Stefanelli as Member of Angel Eyes' Gang
Angelo Novi as Monk
Storyline: Blondie (The Good) is a professional gunslinger who is out trying to earn a few dollars. Angel Eyes (The Bad) is a hit man who always commits to a task and sees it through, as long as he is paid to do so. And Tuco (The Ugly) is a wanted outlaw trying to take care of his own hide. Tuco and Blondie share a partnership together making money off 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) 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 meet with Carson and knows they know the location of the gold. All he needs is for the two to ...
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Reviews
The King of Cool
On a partial first viewing, I didn't like "The Good, the Bad and the Ugly." I thought it was a slow, tedious story about a bunch of unpleasant jerk characters involved in a bog-standard conflict over money. It all seemed very macho and self-consciously cool, and it had obviously inspired all the overrated macho directors I don't like in my own generation - Tarantino, for example, and Robert Rodriguez. In short, I was unimpressed.

Years later, I gave the film a second shot, watching it all the way through this time. I loved it. What had changed?

For one thing, I took more notice of the technical side of the film. I paid attention to Leone's famous use of close-ups, his selection of memorable character actors, and his wonderful scene-setting. I admired the detailed sets and the sweeping landscapes, the props and the costumes and all those weird, wonderful faces that Leone clearly loved to photograph.

I also got hooked by some of the quieter moments that I had skipped over in my first viewing. One of the most effective scenes involves Eli Wallach's character, Tuco, quarreling with his brother when they meet after they've been apart for years. Their argument is great, emotionally charged stuff, made all the more effective by the suggestion that they really do love and care about each other. It's the kind of sensitive, human scene you never get to see in a Tarantino or Rodriguez movie.

Before I get too fuzzy-wuzzy, I should also like to point out that, on my second viewing, I LOVED all the action, too. Every gunfight is great, in its own way, and they're all a bit different. The greatest of them all is, of course, the final confrontation between the trio, which is accompanied by some of the most rousing music I've ever heard in a film. And hey, there's even a huge Civil War battle to provide a change of pace from all the small-scale action.

Ultimately, "The Good, the Bad and the Ugly" is probably just a potboiler of a film, without too much to say about, for example, the human condition. But what a potboiler! It doesn't have to try to be cool - it simply IS cool. In fact, it probably defined heroic coolness for an entire generation. Eli Wallach's performance, Leone's direction and Morricone's music alone are enough to elevate it to classic status - and the fact that everything else in the movie is great, too, helps elevate it to the level of perhaps the greatest action film ever made.

And to think, I missed all that the first time through...
2006-08-21
A true epic and one of the greatest films of all time.
I saw this movie for the first time on my tiny 15 inch screen of my TV/DVD player, and even on this minuscule format I was still simply amazed by the sheer scope of it. Now I understand and acknowledge the usual complaints against the film, namely the fact that the movie is almost three hours long with many scenes that tend to drag on for minutes with little dialog or action, however it is these scenes that make the movie the masterpiece that it is. Every shot whether it be an expansive landscape or an extreme close-up Sergio Leone draws you into his own version of the old west. A world where three men chase each other across the desert in search of 100,000 dollars worth of Confederate gold. Along the way they encounter Yankee and Confederate soldiers, Mexican bandits, bounty hunters in a journey that culminates in one of the most riveting showdowns in cinema history. What I found most interesting about this film however was the influence it obviously had on modern filmmaker Quentin Tarentino. Many of his trademarks (very memorable characters, long shots centered on a single character, intense standoffs involving multiple characters) can be found in abundance in this film as well. In fact Tarentino's Kun Fu epic Kill Bill goes so far as to barrow multiple songs from Leone's Dollars Trilogy. In the end all this adds up to make The Good the Bad and the Ugly in my opinion one of the greatest films of all time.
2007-07-02
The Best Of The Best
When i first saw this film i thought it was slow and pointless. It really didn't seem to be going anywhere at all and worst of all, the story didn't make any sense.

A few months later i watched, A Fistful Of Dollars and For A Few Dollars More and i decided to give this a chance again, realising that it was part of the Dollars Trilogy. After watching it a second time all i can say is this ... Sergio Leonios Best, Clint Eastwoods best and the best Western of all time. The battle sense's were by far the best and most life like battle sense's i have ever seen , the best thing about this film is the music, that theme composed greatly by Ennio Morrocone has become a modern classic.

The Story really came to me this time watching it. Clint Eastwood plays Blondie (THE GOOD), Eli Wallach plays Tuco (THE BAD) and Lee Van Cleff plays Angle Eyes (THE UGLY), three men who are after a fortune in gold. It sounds like a typical story, but to get to the gold they have to go through the civil war. Well, only Blondie and Tuco have too. Angle Eyes is a general in the war.

I really don't know what made think this was crap the first time i watched it. I guess it was because at that time, i really didn't like Westerns at all. But now watching it a second time, it has become one of my top 5 favourite films of all time. One thing i'm happy to see is this is in the top 10 on the IMDb Top 250. It deserves it. 10/10. Perfect
2007-09-09
Never before has two hours and forty minutes whipped by so fast
"The Good, the Bad, and the Ugly" is one of the pinnacles of my experiences of a moviegoer. Not only is it my all-time favorite Western and therefore, one of my all-time favorite movies regardless of genre, but is a landmark in the history of cinema itself. First of all, it is proof that oftentimes the simplest ideas are the best ones. The plot is fairly simple: three men try to reach a buried fortune of Army gold coins while the Civil War erupts around them. The story is even simpler and yet the audience gets wrapped around in it as 160 minutes and those 160 minutes just seem to whip by so fast that when the movie does end, we're craving for more. The film is also evidence that the Western is not a dying genre, for this landmark film from Italian director Sergio Leone has aged like wine; time has done nothing to varnish its style and authority. And it is also proof that Spaghetti Westerns, which are low in budget and oftentimes flamboyant and over-the-top, can be art, too.

This was the third and final time that Clint Eastwood worked with Sergio Leone. He returns again as the mysterious Man with No Name: a cigar-chugging bounty hunter quick on the draw and minimal in emotions. Here is the pinnacle of the vintage Eastwood as an actor, where he could manufacture a character by doing little other than squinting and hissing some sparse dialogue. Eastwood's in prime form here. The movie also features Lee Van Cleef as Angel Eyes, a mercenary/bounty hunter/Army colonel, the exact opposite of the warm-hearted character he played in the previous Western "For a Few Dollars More." But oddly enough, even though Eastwood gets top billing, the central character is Tuco, played with outstanding charisma and sharp energy by Eli Wallach. Wallach had played bad guys and anti-heroes before, but here as the bumbling, deliberately comical, greedy, self-centered, and yet somehow likable and personable Tuco, he steals the show. The movie stays interesting as these three men change partnerships with each other, whenever it seems convenient and when it'll bring them closer to the 200,000 dollars in stolen coins. These three characters, wonderfully written and acted, are an important column holding this film's roof up.

Sergio Leone was very much the David Lean of Italy. He could set up beautiful landscape shots and cinematography tricks like few others could. That's part of the reason why so little can happen for so long and yet the tension mounts higher than most. The way he also contrasts long shots with close-ups and montages it all is sheer brilliance. His timing is also exquisite. He knows how long to go, when to cut, when to produce a long take, when to crop a short one, and so on and so forth.

And I cannot leave out Ennio Morricone's music, which is even more famous than the movie itself. His main theme, which has been used in parodies and cultural references for more than forty years, is justifiably famous. But whereas it is usually used in parodies to produce a comical effect, here it fits the mood of the picture down to the bone. There's not a single weak cue of music in this marvelous soundtrack.

But what's most remarkable about this movie is that it sustains itself for the entirety of its 160-minute length and throughout most of it, very little happens. There are long stretches - minutes upon minutes - where virtually nothing happens. Oftentimes there isn't any music. It's not just the suspense of waiting for Leone's trademark bursts of action; the cinematography and the montage and the directing are so taut and winded together that the audience cannot even force themselves to look away. And if one seeks proof, they have to look no further than the film's climax. Of course because it's a Western, it will have an obligatory final showdown. But consider this showdown. We have three men facing each other down and it goes on for four minutes. Four minutes and the actors are hardly even moving. The only real movement is the camera, which is locked-down, but montaging amongst what is very nearly static images. Coupled with Ennio Morricone's heart-thumping music, this showdown, where very little happens for so long, comes across as one of the most electrifying climaxes in cinema history. Sure the music helps a lot, but it's the directing by Sergio Leone that really makes this scene so intense.

"The Good, the Bad, and the Ugly" is most definitely one of the most important films of all time and it certainly has earned its immortality in the realm of the cinema. It is undoubtedly the greatest Spaghetti Western of them all and Sergio Leone's masterpiece. The first film is this trilogy, "A Fistful of Dollars" was nothing more than an off-beat, but fun remake of "Yojimbo." The second film was also entertaining and fun. But the third movie is a masterpiece. Even at a great length of 160 minutes, and having most of it consumed by silence and stillness, the film never falters to goes on for too long. It goes on and when it does at last end, the audience is left craving for more. They can satisfy themselves in two ways: a) seeking out Leone's director's cut, which is about twenty minutes longer and b) watching the movie again, something I have done and will continue to do many, many times.
2010-08-26
The best movie ever made
Sergio Leone's massive epic is one of my favorite films, pitting a manic Eli Wallach as Tuco against an autistic Clint Eastwood (Leone: Eastwood has two acting emotions, with hat on and hat off). Lee Van Cleef hovers around the the center of the film menacing everyone, although his performance fades between the tension of Wallach and Eastwood. Ostensibly a story about the search for buried gold, GBU undercuts its exploitative surface by giving us almost Beckett-like relationship between a man that is wanted for murder and his partner who turns him in for the reward and then shoots the rope off his neck, a droll comment on human existence if there ever was one. Other existential moments occur in this rich film, such as the beautiful song the confederate prisoners sing while Angel-Eyes tortures Tuco, and the essay on the nature of the futility and pointless brutality of war appears when Tuco and Blondie witness a battle on a bridge they must cross.

Chaotic, cynical, sentimental, violent, GBU resembles an opera more than anything. Amazingly, when this film first appeared in 1967, most critics wrote it off as one more Spaghetti Western, not seeing the fatalism, the grandeur, and the comedy of this world classic. How could you watch a film with a score like Morricone's finest and not be impressed? Don't mistake this film for realism and criticize it on that basis, as some reviewers have done. This is not a documentary-style Western (for that see McCabe & Mrs. Miller), but a Romance, based more in the imagination, more in symbolism, bowing to the classical westerns stereotypes and clichés.

11/10
2010-07-04
the greatest of the great!
I wasn't sure if I was going to comment on this film because everything has already been said by the hundreds of other people who have posted their thoughts, but I decided that I should really put my two cents in since this is my favorite movie.

This film, in my opinion, is not only the greatest spaghetti western of all time. It is the greatest movie of all time. Period. Regardless of genre. I could probably watch it every day, and be perfectly happy doing so.

The music is perfection. The way the music drives this movie is absolutely amazing. The musical genius of Morricone and the incredible direction of Sergio Leone is a combination that will probably never be equaled. The theme song will forever be etched in your brain. In fact, it probably already is, even if you haven't seen the movie! The scene where Tuco runs through the graveyard with the song "Ecstacy of Gold" is pure poetry. And the showdown at the end with that great music- just incredible.

The story is riveting. There is not a single dull moment. The movie is long, but Leone's direction is so good that you will love the fact that you can enjoy this movie for three hours.

Lee Van Cleef is my favorite spaghetti western actor, and he is incredible as "Angel Eyes." It is the part he was born to play. Eli Wallach is perfect as Tuco. He really shines in this movie. Some people say he steals the show, and I can see why they think so. Eastwood is excellent as "Blondie," although I don't think Eastwood has as strong of a presence as Van Cleef (I know many will disagree, and that's OK because all three actors are superb in this film so why split hairs?).

This movie is hypnotic. It's operatic. It's sad. It's funny. It's gritty. It's violent. It's art. It's action. It's pure entertainment. The film is just so incredible on so many different levels that EVERYONE should see it, regardless of what kinds of movies they are into. And it's so cool that the greatest flick ever just happens to be a spaghetti western. If you haven't seen this movie, stop what you are doing, and go get it now!!
2005-08-24
"The Good, The Bad, And The Ugly" is far from being ugly
I was never really a fan of westerns until I saw The Good, the Bad, and the Ugly. This is one of the greatest movies ever. Sergio Leone is a master director, who has also made Once Upon a Time in America, and Once Upon a Time in the West. He is probably the best visual director of all time. He films the cowboys like they are a part of the vast western landscape themselves. His pacing is patient, which works very well in his films. Some criticize his movies for moving too slow, but that allows for much build-up and some scenes and sequences that you will never forget. Clint Eastwood is the ultimate western gangster in this movie. This is where he first truly showcased his brilliance as an actor. If you have not seen this film for some strange reason, get up and watch this masterpiece before you die. Did I mention the score? It is in the same league as the score for Jaws. Intense. Powerful. Mesmerizing. Beautiful.
2005-07-05
One the greatest, most impressive, interesting, breathtaking, and groundbreaking films of all time
The Good, the Bad, and the Ugly is one of those movies that everyone has heard of but not enough people have seen. It pushed itself rather boldly into pop culture and 44 years after it first hit theaters in Italy, it still gains respect and admiration in the United States.

It's the third part of the Man With No Name Trilogy, and was preceded by Fistful of Dollars and For a Few Dollars More, both of which are very commendable films themselves. All three movies revolve around the titular man, who goes by a different alias in each film, this time being called Blondie. The Good, The Bad, and the Ugly is a prequel to the first two movies, meaning that it is not required to watch them first and this film stands alone fine.

The story begins by introducing us to our three central characters: the violent but childish Tuco (the ugly), the heartless mercenary Angel Eyes (the bad), and the mysterious bounty hunter Blondie (the good). While traveling through the desert, Blondie and Tuco come across a dying man who knows the location of a huge deposit of gold buried in a cemetery. Tuco hears the name of the cemetery and Blondie hears the name of the grave, but neither will tell the other for fear of being double-crossed so they are forced to work together. As they embark on an incredibly journey through 1860s Southern America as it is torn apart by the Civil War, they encounter various obstacles including but not limited to the involvement of Angle Eyes, who also wants the money. The whole thing ends with a heart-pounding standoff at the center of the cemetery in which all three men put their lives on the line.

The story is gripping and genuinely interesting, the actors all put forth outstanding performances, the cinematography is as good as it gets, the music has to be heard to be believed, and the climax is one of the most intense events ever recorded on film. There's no such thing as a perfect movie, but this one comes as close as any will likely get.
2010-04-15
Masterfully shot; masterfully scored; masterfully directed, Leone's The Good, the Bad and the Ugly is a stunning and highly involving piece - just masterful.
Sergio Leone's 1966 Western The Good, the Bad and the Ugly unfolds under this hostile, violent and hate filled umbrella of Civil War America; a fitting backdrop of ongoing warfare and hostilities to which two American men and a Mexican bandit strive to find a large box full of valuable coins buried out in the big country somewhere behind Confederate Army lines. In using a plot item as routine as said example and applying it to a relatively routine singular strand arc for the film's narrative to take, Leone essentially breathes so much life into a set up and plot plan that about half way through you forget the basic bare bones of the movie and find yourself going with it, utterly immersed in the tale the director's laying out in front of you. So much has been written and said about the film, like other such examples at the top of each genre, that further comment and analysis may seem futile. The Good, the Bad and the Ugly may very well be the pinnacle to the western as Psycho might be to horror or Apocalypse Now to the war, for instance. If it isn't, or either of the said examples aren't, then there will still be a large cluster of individuals that would sternly argue otherwise.

The film begins with a loud and confrontational title sequence, a brash and expansive manner in which to announce your film has arrived; the sort that sees a flashing of character faces and arrays of different colour, a sequence in which even the little animated horse gets the full force of a cannonball that's been fired off. It sets the tone for a no holds barred ride of guns; gunslingers and no nonsense people with no nonsense attitudes as observations of greed and that of both a mid and post-war crumbling society plays out. The film features some of the best direction I've ever seen; Leone's ability to shift gears and change the film's tact from one thing to another, as loyalties shift and events take a turn for the different is near-flawless. His ability to essentially construct a number of small, minute set-pieces amidst this wide-open and dusty, hostile setting is immaculate; but the change of tact he applies later on towards the end of the film in capturing a Civil War battle between the North and South is just as impressive; portraying a larger fight sequence as the inevitable showdown between the film's three main players draws nearer and that sense their showdown will be of a similarly epic proportion, despite it being just another gunfight and despite the fact all of those thus far have been between grossly outmatched participants.

Leone is all for spectacle and action to propel the plot, but his ability to capture the little things; the terrain and just the sounds that it omits is wonderful. The introduction of Angel Eyes, aka The Bad (van Cleef), for instance sees a young boy flee into his house on first sight of him as he arrives; Angel Eyes' boots stomping on a stone floor whilst he approaches an elderly man sitting at a table as a dog barks outside, all of it a routine use of composition and SFX, but the drawn out editing process; the fact a kid ran for his life at first sight of him and the semiotical driven noise of a barking dog which suggests a rabid animal or ominousness build the scene and character without anyone ever explaining or saying anything.

They call him The Bad because he shoots without mercy and takes without conscience, leaving a family in tatters and on another occasion beats a girl to a near pulp until she gives him what info he's looking for. The name Angel Eyes is wholly ironic. This makes Clint Eastwood's 'Good' (aka Blondie) and Wallach's 'Ugly' (aka Tuco) perhaps look more favourable than they actually are when it's revealed they're mostly in it together against this blackly dressed; father/husband murdering; woman slapping figure of evil. Tuco and Blondie's relationship is a strange one, a mutual appreciation of one another and the death they leave in their wake. Tuco would no sooner shoot Blondie, than hang him, than act like they're best friends. No longer is 'The Good' of a western limited to wearing the sheriff's badge and/or cleaning up towns of drunks and no-good varmints; as here, 'The Good' would much rather come across as upstanding; fleece a local sheriff of $2,000 and then make off with the cash against the guy he was initially in tow with.

Tuco's raging attitudes are captured in a single shot that encompasses a sketching of Christ on the cross as he swigs alcohol whilst wearing an eye-patch, the film at a point where Tuco seems to be doing good in aiding an old friend but perhaps with a traitorous eye still on the prize as the patch acts as a visual distinction of the two sides of his face doubling up as his sinful and righteous attitudes, whereas he gives the Holy Trinity throughout. But THE scene that encapsulates his character is in a store early on during which, betrayed and foaming at the mouth for revenge, he fondles some handguns in front of an elderly clerk before angrily discarding them. He then fondles some more and asks for bullets, drawing you into the scene in an utterly effective manner and its threat element within as we wonder what he has in store for the clerk above all else. There's a solid hour of character involvement and some set-piece exchanges which work wonderfully well; and a later juxtaposition between diegetic musical content with an interrogation brought a smirk to my face when I realised whom it was that felt so inspired to pay homage to such a sequence. The film is engrossing, rich in detail on so many levels and an absolute outright winner of a piece.
2010-04-28
The best western i've ever seen
I watched this movie more than forty years ago the first time. I was a little, stupid kid, and all i liked about this movie was shots and coursing, but now, when my sons watch at this, I can understand the master piece it is. The history is fantastic, the characters are all bad asses with sense of humor, you will love them, the art direction deserved an Oscar, and the acting by the fantastic Clint Eastwood too, for not talking about the music.

About 2 years ago I saw "Once upon a time in America", by Sergio Leone. And I realized that this director was a master that deserved respect, remembering this movie. You will love this movie, I tell ya, your sons too, you maybe worry about the length, but that three hours are not wasted at all. And there are two more movies of the trilogy, but you can see this one as a separated movie. I loved it, it's on my personal top 5 rank.(with "The godfather", "12 angry men","Pulp fiction" and "Goodfellas") A little spoiler over here: the final scene with Tuco running at the sementary in just the most exiting thing I've ever seen, the music helped.
2012-07-12
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