🎦 The Good, the Bad and the Ugly full movie HD download (Sergio Leone) - Action, Adventure, Western. 🎬
The Good, the Bad and the Ugly
USA, Italy, Spain, West Germany
Action, Adventure, Western
IMDB rating:
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 met with Carson and knows they know the location of the gold. All he needs is for the two to ...
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Take A Slug Of This Captain - And Keep Your Ears Open
Three separate mercenaries drifting through the US Civil War in 1862 hear about a cache of looted Confederate gold, rumoured to be buried in a cemetery. Picking up clues, and with many criss-crossing adventures en route, they each make their way to the treasure. Can they find it, and who will emerge alive ?

The Good, The Bad And The Ugly, or Il Buono, Il Brutto, Il Cattivo to give it it's proper name, is simply the finest western ever made. Many accused Leone of being a hack; he made westerns, but he made them in Spain, and he wasn't even an American. Not only was he not a hack, he made pure cinema - a genre stylist unburdened by all the boring moral constraints of so many westerns (clean-cut good guys, white supremacy, social responsibility). As a result, this film is the purest distillation of the western myth, with the most amazing cinematic treatment ever committed to film. Its style is beyond criticism and its influence cannot be underestimated; Leone's themes, his camera angles, his use of music, his intuitive widescreen style, his moves, his incredible closeups - all have been and continue to be copied by lesser men. At a time when everyone was making crappy new age films like Barefoot In The Park and Georgy Girl, Leone was going back to his cinematic childhood of Gone With The Wind to create an astonishingly mythic epic which is the greatest depiction of the American Civil War despite not being about it. The three main characters are larger than life in the best way possible; Eastwood is extraordinary as The Man With No Name here, his character gradually mellowing from the hardened bounty-hunter he was as he witnesses the horrors of the war. If you do not cry at the scene near the end where this hardest of hard men dispassionately comforts a dying boy you are truly heartless. Wallach is amazing as Tuco, giving one of the greatest physical performances I have ever seen, all darting eyes, fastidious little movements and operatic comedy; he can be scary, funny, vicious and tender, all in the same scene. Van Cleef on the other hand is the purest depiction of black-hearted evil in any film. His introduction, as he rides a black horse out of a desert sundown and commits three horrific murders is amongst the greatest screen villainy of all time. These three incredible turns are all-time career bests for three astonishingly talented and prolific actors. Also superb are Guiffrè as the doomed drunken Yankee Captain Clinton, Pistilli as Tuco's brother Pablo and Brega as Wallace, Van Cleef's burly henchman (Brega plays similar heavies in the two previous Dollar movies). The other unforgettable element to this movie is Ennio Morricone's astounding music, which I think I must say is simply the greatest score ever recorded. There is no movie I can name with better, more original or dynamic music. The music is in unique harmony with the images and emotes from the first note to the last crescendo. The music completes every scene. It is lustful, haunting, touching, humorous, ominous, grandiose, suspenseful, operatic, delicious, magnificent, riveting, quiet, melancholy and philosophical. There are too many great musical moments to mention, but perhaps the greatest of all is the L'Estasi Dell'Oro sequence as a crazed Tuco runs amongst the graves of Sad Hill accompanied by the silken soprano voice of Edda Dell'Orso. Morricone is probably the most gifted film composer who has ever lived - he is certainly the most prolific - and this is the finest of his many many great scores. In an average movie I hope for maybe five strong scenes with atmosphere and originality. In this long movie, every single scene, bar none, is a brilliant little vignette, yet each flows into the other with perfect rhythm. What else is there to say about this extraordinarily beautiful film ? It is a diamond, an absolute diamond of world cinema, made by one of the few truly original directors, and don't believe for a second anyone who tries to write it off as trashy or simplistic. It contains so many moments of pure storytelling genius it would take me forever to list them. It is a great story, an astounding assault on the senses, a hugely entertaining masterpiece and an everlasting testament to Leone's total command of cinema. Featuring exquisite photography by Tonino Delli Colli and fantastic sets by Carlo Simi, it was shot at Elios Studios in Rome, in Castilla-Leon in northern Spain and in Leone's favoured locations in Almeria. Stunningly well written by Agenore Incrocci, Furio Scarpelli, Luciano Vincenzoni and Leone. Re-mastered and re-released in 2003, with several additional scenes which didn't make it into the original US release, notably a sequence where Tuco reunites with his gang and one where Angel Eyes visits a ruined fort. Trivia - Eastwood/Blondy is the good (buono), Wallach/Tuco is the ugly (brutto) and Van Cleef/Angel Eyes is the bad (cattivo); the latter two are often transposed in much of the English-language publicity and merchandise for the movie. This is the great Sergio Leone's best film, the best film of the sixties and the best western ever made.
Leone overcooks his spaghetti.
'The Good' is sharp-shooter Blondie (Clint Eastwood), although how someone who runs a bounty racket, betrays his friend, and shoots numerous people dead can be deemed good is beyond me. Bandit Tuco (Eli Wallach) is 'The Ugly', which I think is a little unfair to the bloke: he's no George Clooney, but he's not Quasimodo either. That leaves cold-hearted killer Angel Eyes (Lee Van Cleef) as 'The Bad', which he most definitely is, even going so far as to kill a child in order to achieve his goals. After Blondie and Tuco chance upon a dying Confederate soldier who reveals to them the whereabouts of a fortune in gold, the pair come to the attention of Angel Eyes, who will do anything to lay his hands on the treasure.

The Good, The Bad and The Ugly, the third film in Sergio Leone's Dollars trilogy, is an epic spaghetti western that benefits from iconic central characters, an undeniable sense of cool, and, of course, that classic Ennio Morricone soundtrack (Waaawawah, waa waa waa!). Where the film doesn't fare quite so well is in the pacing and storytelling, the basic plot—three guys go in search of hidden treasure—stretched painfully thin, particularly in the Extended Cut, which clocks in at approximately three hours. The expansive historical backdrop—the American Civil War—frequently detracts from the flow of the story and Leone has a tendency to labour a little too much over his style, lingering on his characters for an eternity and repeating similar shots ad nasueum, all of which causes scenes to drag. Fortunately, some nice touches of humour and a couple of neat plot twists help to make matters a little easier to digest.

6/10. Not quite as hard-going as Once Upon A Time In The West, but not a patch on the earlier Dollars movies, or indeed, Leone's underrated A Fistful of Dynamite.
The Ecstasy of Music is far higher than the ecstasy of gold
This movie is not only sheer entertainment, it has the most profound music in the number 'ecstasy of gold' by Ennio Morricone. Although there is no comparison in the quality of one musical piece with another, but I would rate 'ecstasy of gold' as the best orchestral piece ever - simply a masterpiece from Morricone, who has produced the best music for western genre films. The theme music is also superb.

The mood of the film transports you to that time and world and gives a feeling of that time and places were everyone was desperate, adventurous, daring, even reckless for the most coveted thing - gold. It has been called the yellow fever - a state in which people were willing to die or commit massacres for gold.

This is the theme, and although it is a sad and haunting picture of man turning into wild beast - more savage than the so called savages, the action, the plot and the acting turns it into an ecstasy. Not to be missed.
They don't make 'em like this anymore.
This movie is a classic. It's spectacular, it's thrilling, it's beautiful. You won't find anything like this now-a-days, no matter how hard you try. Anyone who hasn't seen this movie should be ashamed of himself.

The plot is simple - Blondie (Clint Eastwood), the Good, Tuco (Eli Wallach), the Ugly, and Angel Eyes (Lee Van Cleef), the Bad, are all after a stash of Confederate gold, holding 200,000 dollars in gold, during the American Civil War. Seems like a pretty simple plot for 1 and a half hours, let alone 3. So what drives this movie? Style. Cinematography. Atmosphere. Let me explain.

The first scene in the movie is the (rather unappealing) face of a bandit. It then switches to a wide shot of the small town he and his two companions are entering. A few more shots of the bandits. They enter an inn, and gunshots are heard. Out the window comes charging Tuco, clutching a gun in one hand and meat in the other. The image freezes while he's in midair, and the writing "The Ugly" appears on the screen. The first half hour or so serves to introduce the three main characters in similar fashion. No plot progression whatsoever, merely introduction. Most movies would fall with a start like that, but not this one. It takes more than an hour before the rush for the gold begins, and by that hour you already know everything you can and need to know about the three anti-heroes: Blondie is the Good. He is not good at all under normal standards, as he is an outlaw, a killer and he betrays his "friend". But he seems good in comparison to the other slime-balls in the movie: Tuco is a villain, pure and simple. He steals, murderers, rapes, and does a bunch of other nasty things. But he is still fun and amusing, while the sinister Angel Eyes stands in comparison - a menacing figure in black clothing with an evil mustache, who kills and double-crosses without blinking for a few more dollars.

And the movie doesn't follow a plot. The plot is just a background for the amazing scenes that come one after another and construct the movie - you go from one scene to the other. And there are many memorable scenes in this movie: The first time Blondie shoots the rope before Tuco is hanged to death. Blondie's march through the desert. Tuco and Blondie's capture by the Yankees. Tuco's torture. Tuco's gunfight in the tub and the classic line that follows. The showdown in the deserted town. The bridge being blown up. Tuco's search for the grave. And of course, the amazing climax. But I'll get to that later.

We've covered the style, but I also mentioned cinematography and atmosphere. And the cinematography is amazing. Wide shots of towns and deserts zoom to close-ups of desperate and rugged men. The effect is amazing, especially during gunfights. It creates tension and suspense, and that leads me to the second point I mentioned: atmosphere. This feels like the West. The people look dirty and hard-working. The buildings look rickety. And when time is spent looking at each other before the guns are drawn for a few short seconds when the men fire at each other, you feel what it's like to be there.

And finally, as I mentioned before, the climax. Possibly the best climax in a movie ever. A Mexican Standoff between the three main characters in the film - Blondie, Angel Eyes and Tuco. The Good, the Bad and the Ugly. Minutes pass as they stare at each other, each bringing their hand a bit closer to the gun. The music becomes more and more dramatic as time passes. You wait, and then... They fire, and it's over. A duel as a duel should be. It's mind-blowing.

Few movies can reach the level of this masterpiece. Fewer still can surpass it. They don't make 'em like this anymore, and it's a damn shame.
One Of The Best Westerns Ever Made!
This movie has style - in a very elemental way - so to speak. You get an idea of the deadly, dreary desert, the deadlier bounty hunters and the deadliest of 'em all - Clint Eastwood - the man with no name! The story is a simple one to follow and is brilliantly executed by Sergio Leone using just the right landscapes along with some pretty good sets too (like the one featuring the Civil War sequence). Some of the scenes were meant to be symbolic (especially the Civil War scenes) and they did their job well.

Eli Wallach is simply superb with his "Blondieeee!!!" screams and curses. Lee Van Cleef seems as deadly as the great Eastwood himself as "The Bad" guy.

Cinematography - not as continuous as one would like - but manages to convey the tension in the dueling scenes very effectively.

Also, the music - Ennio Morricone at his best! He has dished out some very innovative and brilliant stuff for all the three "great" westerns and this along with "For a Few Dollars More" seems to be his best.

Finally, the style! Sergio Leone can certainly teach a thing or two to Quentin Tarantino or The Wachowski Brothers - in fact Tarantino acknowledges Leone's great style. And then the epitome of style himself - Clint Eastwood - with a half-burnt cigar in his lips, unshaven face, tilted hat, ragged jeans, a worn out poncho and the sharpest scowl ever which can rub out any "Neo-with-million-dollar-goggles" off the face of the Earth.

Not genre-defining, surely - it was invented by Hollywood. But somebody from Europe really showed the world how to make westerns.
Roy Rogers meets the Vatican meets Kurosawa
Spoilers herein.

This film revolves around threes of various types and pairings among those threes. The grouping of three that is of interest to me are the cinematic influences behind this film: Hollywood westerns, Italian iconic painting, Japanese starkness in representation.

These Italian westerns are important. Most movies are about other movies, but this one affected much of what followed.

The western vocabulary was mature and popular well before movies, and with the detective story drove the first revolution in modern mass publishing. Its simple abstractions were converted to film (then radio and TeeVee) without change: the boy scout cowboy in the usually white hat, often singing. (In fact the modern pop country music borrows from this simple vocabulary and reference to the `genuine.') But all that, including the country music bit is pretty flat, stupid and dull.

Italian cinema is based on a similar set of national icons, specifically religious icons. It is a more visual, visceral painterly vocabulary. Equally simple in stereotypes, but instead there are religiously based connections that give the impression of depth. Symbology is expected, even demanded. To this add postwar notions of irony which permeated European popular art. So the good guy was still good, but in a twisted way -- the twists shifting according to the chaos he encountered.

In the US, John Ford was creating soft lush panoramas that would subliminally inspire a generation of environmentally aware viewers, but something more important came rushing in from Japan: Kurosawa. His films are abstract, directly evolved from Japanese watercolor narratives. These are also lush and beautiful, but not soft -- instead dusty, gritty, sometimes cruel. This world is not placid, merely a machine to test color and honor.

In the Eastwood/Leone films, these three influences were deliberately enfolded. And a whole world's visual vocabulary shifted. In the US, we have since reinvented a part of our national character to ally with these images. (America's love affair with guns is a recent phenomenon.) How powerful cinema can be!

This film may be recommended by others for entertainment value or something similar. That's fine, but I think it should be seen to help you understand the default world you are handed, so that you can put it into perspective -- to see that much of it is man-made.
This is the reason why Leone is the greatest at what he does.
Before watching this movie, I have seen A Fistful of Dollars and For a Few Dollars more and I was quite impressed with both. However, after I have seen this, Leone instantly became one of my favorite directors. Leone has a distinct style in his films and this movie pulls it out 150%.

The cinematography in this film is incredible. His use of extreme long shots and extreme close ups are unsurpassed. The film opens with the close up of a man with an expressionless face creating a sense of mystery and excitement. What will this guy going to do? What's going to happen? Then we are introduced to two new unknown men and the three walk towards the entrance. Silence. Then suddenly, the 3 bust in, guns are shot and Tuco busts through the window and escapes with a half eaten chicken (or pork) leg. One of the men is injured, tries to make a futile final attempt to kill him and falls to the floor; the other 2 are already dead. Just in that one scene, we are introduced to Tuco and can already guess his character, his background info, and skill... without a single spoken line of dialogue.

As a matter of fact, nobody speaks until about 10 minutes into the film. It is all visual. We, the audience, are forced to imagine what the characters are thinking, what might be taking place. Leone gives the viewers a chance to guess what might happen. Even in Once Upon a Time in the West, we see his mastery at the No-Dialogue introduction. I also believe that this is his way to introduce the character's personality traits without the viewers actually knowing that they know it. A subtle technique so when they see a character do something later in the movie, the viewers can accept the character's actions.

However, Leone would not be as great as he is if it wasn't for his partner Ennio Morricone and his unique and memorable soundtrack. The coyote-like music sets the mood for this film like no other western. It is something you must listen to and experience it to retain the full appreciation of it, and know why it has become the trademark music for the western genre.

These techniques go on throughout the film and bring us to the ultimate scene in film history, where Leone's style shines to it's full extent. His incredible use of long shots to set the stage, close ups to catch the expressions, music to set the mood, montage to create the tension, expand it and finally when you are at the edge of you're seat, the scene goes off like lighting in the incredible climatic ending.

Leone is not just any director. He is one of the best, and THIS is his western!
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.
Sergio Leone's penultimate Italian-western; a film that gets better with each passing year...
...and though those last several words could also be attributed to Leone's "Once Upon a Time" films (West and America) as well as the other pieces in his trilogy of films with Clint Eastwood- Fistful of Dollars and For a Few More Dollars- arguably this is the most ambitious and spellbinding one of the bunch, and one that has inspired (i.e. Quentin Tarantino, Sam Raimi, Robert Rodriguez) and will most likely continue to inspire filmmakers and fans into the 21st century. There's something in The Good, the Bad, and the Ugly that's nearly (or perhaps is) mythical in it's craft, certain scenes come off as being more than relevant and exquisite for that scene/sequence- it transcends into aspects of humanity.

For example, in the first part of the film (this is after the extraordinary introductions to Tuco, played by Eli Wallach, Sentenza or 'Angel Eyes', played by Lee Van Cleef, and as Blondie by a 35/36 year old Clint), Joe gets Tuco out of a hanging, which is something of a regular practice for them, but Joe decides to leave his 'buddy' out in the desert to walk the rest of the way back into town. A little later, the situation gets reversed, as Tuco has a horse and water and Joe doesn't, and they both go to cross the desert. Leone decides to not follow Tuco coming back to town as much as he follows in earnest Tuco and Joe going across that desert, as Joe starts to burn and dry up, going towards a story that will soon unfold. There is something to these scenes that I can barely describe, that they're executed in the mind-set of a Western, but in the abstract Leone lets the audience know this is a story that is bold and bigger than life.

What makes much of the Good, the Bad, and the Ugly such a huge success is the trust Leone had in his own style he spun into his own after the first two westerns, his trust in his collaborators, and in his leading players as well. I, for one, had to mistakenly figure out that it is near depressing to watch this film on a regular VCR tape due to the pan & scan process. There is such a clear, distinct visual scope that Leone and camera director Tonino Delli Colli achieve that it's practically a must to get the DVD (preferably the extended version, which was Leone's original cut more or less). The editing, too, is unique in many sequences (the climax is the most noted and memorable). The score, with usual collaborator Ennio Morricone, is one of the landmark movie scores, and themes, of not just in the western genre but in all movie history. And the three main players who take on the screen have their own chops to show off: Eastwood, technically, was playing a Joe that took place before Fistful of Dollars, yet by this film had it down to a T (it's still my favorite performance from him, despite having few words and reactions); Cleef's cold, cunning Angel Eyes steals the scenes he's in; ditto for Wallach, who gets under the skin of his co-patriots as much as he sometimes does under the viewer's.

Overall, The Good, the Bad and Ugly, is an entirely satisfying western, at least one of my five favorites ever made, and it's an endearing bravo to all who were involved. A++
One of the Best Westerns Ever Made...
'Buono, il brutto, il cattivo, Il' was at its release in 1966 a very unconventional Western epic that follows the travails of three gunfighters looking for $200,000 in stolen Confederate gold.

Also known as 'The Good, the Bad and the Ugly', it was Italian-born (Rome, 3 January 1929) Sergio Leone's third so-called spaghetti Western after 'Per un pugno di dollari', aka 'For a Fistful of Dollars' (1964) and 'Per qualche dollaro in più', aka 'For a Few Dollars More' (1965).

It is generally considered one of the best films of its kind ever made, a masterpiece, one that almost inexplicably continues to get better with each viewing. In a way, it's a morality play, weighing the consequences of good and evil, but it does so in its realistic portrayal that sometimes, crime DOES pay, at least in the short term, and sometimes good DOES go unrewarded.

This film ushered in a new concept of a previously all too oft told Western story, probably tolling the death knell for the traditional American-made, Good guy/ Bad guy, White hat/ Black hat Western that was so prevalent before it.

The three main characters of the film are as powerful as Leone's brilliant vision of the Civil War era America, he used as their backdrop. Lee Van Cleef ('The Bad') is evil in the flesh. Beedy-eyed and totally ruthless, he believes it only takes one thing to be successful: whatever is necessary.

Clint Eastwood ('The Good') is the now legendary 'Man With No Name', but 'good' only in a Western concept of non-traditional good. He has a sometimes detectable and occasionally observable sense of honor that motivates his behavior and conduct from time to time.

Eli Wallach ('The Ugly') is Tuco, and he's easily the most colorful character in the film. Impulsive and full of barely suppressible rage, Tuco gyrates wildly throughout the movie, stealing, lying, pretending to be a best friend in one scene, trying to kill in another. Tuco truly represents 'the ugly' side of human behavior.

At two hours and forty-one minutes, the movie was lengthy for its day, but there's neither a single scene that seems unnecessary, nor does the film seem lengthy while viewing it. The film unfolds with a charismatic style and grace, slowly revealing more and more about each character and the film's story. The pace of the film expertly captures the flavor of the time, giving the viewer a rare peek into a page of American history come alive on film.

Director Sergio Leone (who contributed to another epic of note: 'Ben-Hur' as an uncredited second unit director in 1959) manages to build a lot of sometimes unsettling tension in the film, thus preventing the longer than usual movie from ever getting uncomfortable or predictable. Every typical Western cliché possibly imaginable is either given a unique twist or utterly destroyed by Leone's masterful storytelling. Of special honorable mention is Ennio Morricone's original music score, which is about as masterful and complementary as it gets, culminating in the climatic gunfight in the cemetery at the end of the film. The music is so rich and powerful it easily stands on its own merits, and is one of the biggest selling original movie soundtracks to date. It is impossible to imagine the film without it.

'Unforgiven' may well have been the sequel to 'The Good, the Bad and the Ugly', the story of what eventually happened to the 'Man With No Name', and won Oscars for Best Picture and Best Director, and the nomination for Best Actor for Eastwood in 1992 (the film also was nominated in six other categories and won in three of those). Eastwood dedicated this movie to Sergio Leone who died 30 April 1989 in Rome, and who had believed in him early in his career.

Call it 'Buono, il brutto, il cattivo, Il' or call it 'The Good, the Bad and the Ugly', but after seeing it you'll call this movie absolutely brilliant at MANY levels, including the one mentioned above by Kitchener.

It is a classic like no other, and is easily one of the best Westerns and films of its kind ever made.
📹 The Good, the Bad and the Ugly full movie HD download 1966 - Eli Wallach, Clint Eastwood, Lee Van Cleef, Aldo Giuffrè, Luigi Pistilli, Rada Rassimov, Enzo Petito, Claudio Scarchilli, John Bartha, Livio Lorenzon, Antonio Casale, Sandro Scarchilli, Benito Stefanelli, Angelo Novi, Antonio Casas - USA, Italy, Spain, West Germany. 📀