Sergio Leone's epic looks good, almost great, restored to its original running time.
The Good, the Bad and the Ugly (1966)
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Reviews Counted:58
Fresh:57
Rotten:1
Average Rating:8.8/10
Consensus: Arguably the greatest of the spaghetti westerns, this epic features a compelling story, memorable performances, breathtaking landscapes, and a haunting score.
Runtime: 2 hrs 59 mins
Genre: Westerns
Synopsis: Blondie (Clint Eastwood) and Tuco (Eli Wallach) are gunmen who admire each other professionally but dislike each other personally. Encountering a group of dying soldiers, Tuco learns the location... Blondie (Clint Eastwood) and Tuco (Eli Wallach) are gunmen who admire each other professionally but dislike each other personally. Encountering a group of dying soldiers, Tuco learns the location of the graveyard where a Confederate treasure is buried, while Blondie learns the identity of the exact grave. Joined by mercenary drifter Angel Eyes (Lee Van Cleef), they cross the desert, each of the desperadoes knowing half the secret and each focusing his squinty eyes on the $200,000 bounty. In a classic that puts style above substance, Italian director Sergio Leone uses vivid Cinemascope imagery to depict a bleak and bloody American West in this final installment of his collaboration with Clint Eastwood in the Man with No Name Trilogy. A prototype for the so-called Spaghetti Western genre, the film solidified Eastwood's position as a major international star with his stoic, brooding presence. Cinematographer Tonino Delli Colli's stunning visuals are a match for the vivacious Ennio Morricone score, one of the most recognizable in all of cinema. Although the film was not released in the United States until 1967, it was produced and released internationally in 1966. [More]
Starring: Clint Eastwood, Eli Wallach, Lee Van Cleef, Mario Brega
Starring: Clint Eastwood, Eli Wallach, Lee Van Cleef, Mario Brega, Aldo Giuffre, Chelo Alonso, Luigi Pistilli, Rada Rassimov, Enzo Petito, Claudio Scarchilli
Director: Sergio Leone
Director: Sergio Leone
Producer: Alberto Grimaldi
Story: Luciano Vincenzoni
Composer: Ennio Morricone
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Release:
May 12, 2009
DVD Features:
- 2-Disc Set
- Region 1
- NTSC
- Full Frame - 1.33
- Widescreen - 2.35
Audio:
- Dolby Digital 5.1 - English
- Subtitles - English, French, Spanish
Additional Release Material:
- Trailers: Original Theatrical Trailer
- Audio Commentary: Richard Shickel - Film Historian
Alternate Scenes:
- 1. "Extended Tuco Torture Scene"
- 2. "The Socorro Sequence: A Reconstruction"
Documentary:
- 1. "Leone's West"
- 2. "The Leone Style"
- 3. "The Man Who Lost the Civil War"
Featurette:
- 1. "Reconstructing THE GOOD, THE BAD, & THE UGLY"
- 2. "Il Maestro: Ennio Morricone and THE GOOD, THE BAD, & THE UGLY"
Text/Photo Galleries:
- Poster Gallery
Reviews for The Good, the Bad and the Ugly
A beautiful film, directed with supreme confidence and passion — and lots of action.
One of the most compelling validations of the western genre’s most elemental touchstones.
The point is not what happens in the movie but how it happens, a curious blend of partly humorous, partly dramatic, partly elegiac legend.
Of all the great films of the 1960s, The Good, the Bad and the Ugly is one of a fistful that can be truly appreciated only on the big screen.
Leone's blockbuster is balanced on the razor's edge between popular entertainment and art film. It took classic American themes and turned them inside out.
Though the restoration isn't substantial, any excuse will do to revisit the moment when a young Clint Eastwood became a star and in the process helped reinvent the Western.
This is a great movie, whatever strange estuary of the western river it occupies.
An improbable masterpiece -- a bizarre mixture of grandly operatic visuals, grim brutality and sordid violence that keeps wrenching you from one extreme to the other.
It demonstrates that a film can be exciting and funny and epic in scope while still retaining the peculiar vision of an artiste compelled to capture his obsessions with a Techniscope lens.
Art it is, summoned out of the imagination of Leone and painted on the wide screen so vividly that we forget what marginal productions these films were.
The uncut new print reclaims the widescreen majesty of Tonino Delli Colli's cinematography, allowing you to see every iconic wart and furrow on every bad guy's face.
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