Django

1966

Django

Critics Consensus

No consensus yet.

92%

TOMATOMETER

Total Count: 13

84%

Audience Score

User Ratings: 8,635
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Movie Info

A mysterious man trudges into town dragging a mud-stained coffin behind him. This man is Django (Franco Nero). After he saves Maria (Loredana Nusciak) from certain death, Django finds himself in the middle of a war between Mexican revolutionaries and a band of sadistic racists led by the fanatical Major Jackson (Eduardo Fajardo). In the face of overwhelming odds, Django has a plan: to exact revenge while pitting enemy against enemy. Featuring the addictively catchy title song performed by Rocky Roberts, "DJANGO" made an international star of Franco Nero, and along with Leone's Man With No Name trilogy, established the Spaghetti Western as an internationally popular genre.

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Cast

Jose Bodalo
as Gen. Hugo Rodriguez
Gino Pernice
as Brother Jonathan
Eduardo Fajardo
as Maj. Jackson
Angel Alvarez
as Nathaniel the Bartender
Remo De Angelis
as Mexican Officer #1
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Critic Reviews for Django

All Critics (13) | Top Critics (1) | Fresh (12) | Rotten (1)

Audience Reviews for Django

  • Mar 13, 2013
    [img]http://images.rottentomatoes.com/images/user/icons/icon14.gif[/img]
    Directors C Super Reviewer
  • Mar 02, 2013
    It's quite an odd viewing day for not only I viewed "Django" but also "Django Unchained". It was even more unexpected that I ended up like this more than Tarantino film. Django is about on a coffin-dragging gunslinger who enters a town caught between two feuding factions, the KKK and a gang of Mexican Bandits. That man is Django, and he is caught up in a struggle against both parties. The plot is similar to "A Fistful of Dollar" in which two separate gangs get played by our hero. The two party even meet and has a similar structure to "A Fistful of Dollars". Thankfully it does not chooses to copy the entire film. It contains an original story of its own and the two protagonists are different. The protagonist here doesn't work solo all the time giving him more interactions with plenty of minor characters. It contains some memorable scenes of it's own and one scene that involves an ear getting cut is reminiscent to a famous director debut. If it was not for the plot similarity to "A Fistful of Dollars" I would have rated it higher. Sorry I can not elaborate more on the plot, but "A Fistful of Dollars" keeps coming to my mind. Franco Nero goes Eastwood in his physical stature. He looks similar to the "Man With No Name" with the beard, smoking cigar, and the outfit to some degree. The differences is small since Django does not have a poncho and the clothing is slightly different. Franco Nero performance is very different too. Unlike Eastwood, once Nero is broken he stays a broken man for the duration of the film. I would like to say Franco Nero did in fact appear in "Django Unchained". Nero played a small role as Vassepi who in the film goes to the bar for a drink and encounters Django, played by Jamie Foxx. As a nod to Nero's film, Vassepi asks Django his name, asks him to spell it, and, upon Django's informing him that the "D" is silent, says "I know." A nice nod that hopefully doesn't over viewers head. The production value is very solid. Granted I would like to see some indication of who got shot, but it's still impressive. The music kickass so much that Tarantino used the theme song in "Django Unchained". It contains plenty of gun fight and very high body count that can match "The Wild Bunch" death count. Terrific direction makes good use of it limitations and plays of it story to great success. Django is basically a low budget version of "A Fistful of Dollars", but is still a well made Western and stand on its own. Django should satisfy any movie fan for it has the making of a great western. Great atmosphere, a well pace plot, plenty of gun fights, and escapism into a different era.
    Caesar M Super Reviewer
  • Jun 20, 2011
    Un-un, bambini, this ain't your daddy's lighthearted kind of Italian western. Mind you, it's almost fifty years old, so it might very well be your grandaddy's Italian western, but, in all seriousness, strap in people, because this was considered one of the most violent films of all time... almost fifty years ago. Still, the fact of the matter is that the Italians sure know how to push the envelope, even when it comes to westerns, although, to be fair, that might have just been Sergio Leon's idea. You're not fooling everyone with the surname Corbucci, because we all know that this was your attempt to go back and reboot the "Man with No Name" saga with a lead actor who is actually Italian... and actually has a name. Well, that just goes and blows the mystique, but hey, the character's titular name sure did make for a catchy theme song by Rocky Roberts, and for, like, 100 decent unofficial sequels/rip-offs. Yeah, Django is pretty much to Italian cinema what Wong Fei-hung is to Hong Kong cinema, except the thing is that, with all of my going on about how they finally got a spaghetti western icon who is actually played by an Italian, Django is a dismissed Union soldier. Man, Mexicans are getting the business from everyone, including spaghetti western filmmakers, but I'd be sick of these Italians coming in and taking western film stories that we Americans could use, were it not for the fact that they can make some decent westerns, at least to a certain extent. Although spaghetti westerns of this type are defined by their being edgier than your garden-variety Hollywood melodrama portrayal of the Old West, there's something romantic about the storytelling him which intentionally draws sometimes near-cheesy histrionics that might be easier to embrace in the context of this romantic story is the story in question didn't get to be so formulaic with its melodramatics. The conventions would in turn be easier to embrace if there weren't refreshing elements here and there throughout this classic "man with no name" type of spaghetti western storyline, betrayed by the conventions that still aren't prominent enough to make the characters as recognizable as they probably should be. This film just wouldn't be what it is were it not for that enigmatic aura to some of the most important characters, who ought to be undercooked, but by under-developing most everyone, Sergio and Bruno Corbucci and Franco Rossetti, as writers, thin out much of the depth to the film, no matter how much time they spend dragging their feet. There are a number of subtly draggy plotting points that meander along, but, considering that the final product is merely a little over 90 minutes long, if nothing else retards momentum, it is a slow "sense" of momentum, for although Sergio Corbucci's direction is generally reasonably colorful, when dry spells kick in, the film dulls down, something that it can't afford to do if it wishes to craft a project whose execution is more rewarding than its concept. Almost all the complaints I just made are only moderate issues, thus, what really holds the final product back is natural shortcomings, as this is a surprisingly mostly action-oriented spaghetti western that seems to force in certain areas of dramatic consequence that still don't do much to beef up the narrative. It all comes down to a pretty disconcertingly abrupt ending, and by that time, it becomes all but impossible to ignore the inconsequentiality of this drama of limited dramatic weight, whose shortcomings are nonetheless stressed throughout the film by histrionics, conventions, developmental issues and slow spells which reflect a certain laziness. Of course, what reflects inspiration is near-shimmering, almost to the point of making a rewarding film, through all of the hiccups, partly through a solid artistic value. As I said, Luis Bacalov, with the help Alabamian-turned honorary Italian Rocky Roberts opens the film with one seriously catchy theme song, but the soundtrack's flare doesn't quite end there, for although Bacalov's score falls into formula at times, it's never short on a beautiful Italian bite, complimented by some excellent Italian, Latin and classical-style guitar work, and punctuated by some subtle and intensity which characterizes the particular grit of spaghetti westerns, as surely as art direction defines the look of any western. Carlo Simi's art direction is subtle, but that only adds to the convincingness of this era, and rather handsomely, at least when the visuals and production values behind cinematography by Enzo Barboni whose bleak palette is handsomely unique, even to this day. The films good lucks have done a fine job of standing the test of time, just as its musicality continues to engage, thus, the film is, if nothing else, an artistic hit that offers much to compliment style, while substance is largely complimented by some solid performances. Now, the English dub offers some questionable voice acting, but most everyone actually does just fine, whether you be observing them in the original Italian, or simply paying attention to their physical performances, with Franco Nero, despite not being given many layers, standing out with an enigmatic charisma that makes the titular Django character a memorable soft-spoken lead, who is still memorable largely because of the characterization. Well, due to dramatic meat's being thin, the characterization is thin, both in expository depth and in dimension, but as a portrait on the romantic, yet brutally lawless world of an Old West nearing Mexico, this film's thematic depth thrives on the characters, providing some degree of weight that all but compensates for the inconsequentiality which plagues so much of the story concept. Sergio Corbucci's directorial interpretation of this story further brings the final product to the brink of rewarding, with style that is particularly sharp during some intense, if a little noisy action sequences, broken up by a fluffless atmosphere which you could hardly find in Hollywood westerns of the time, and which power the heights in dramatic bite which are too limited in this film. Granted, the film's bite was always to be limited by a certain dramatic minimalism, but, for what this is, there is a lot of inspiration, enough to make an adequately entertaining and gripping western thriller that, at the very least, borders on rewarding. Overall, certain histrionics are made all the more glaring by conventions, while underdevelopment, dragging and bland atmospheric dry spells emphasize the film's lacking a dramatic solid story concept to begin with, thus, the final product falls short of rewarding, but is nonetheless carries close enough by excellent scoring, decent art direction, handsome cinematography, good performances, - particularly by the charismatic Franco Nero - memorable characters and slick direction - highlighted by strong action and some biting dramatic atmosphere - to make Sergio Corbucci's "Django" a reasonably thrilling, if flawed spaghetti western classic. 2.75/5 - Decent
    Cameron J Super Reviewer
  • May 04, 2011
    With an alleged estimate of over 100 unofficial sequels and one official Sergio Corbucci's "Django" is one of the most popular and loved Italian westerns, often regarded as one of the best non-Leone ones. It forever immortalized Franco Nero as a personal favorite actor amongst fans of the genre. While Sergio Corbucci himself was given high credit for his work. Here he demonstrates his creative skills, even through the limits of the genre he spins a violently fresh tale of racial hatred, deceit and vengeance. Franco Nero stars as Django, a lone rough-cut gunslinger in worn-out clothes and duster. He travels through the grim, dirty badlands dragging a coffin behind him. In the opening scene Django rescues a woman from a group of men wearing red ties around their necks. He leads her back towards the nearby town, a secluded nearly ghostlike place with only the local saloon operating. It seems the town had been torn apart by countless battles between a group of racist Southerners that wear red ties as indication of their "beliefs" and the forces of a rebel self-proclaimed Mexican general. Unlike "A Fistful Of Dollars"' Joe, Django doesn't play it both ways, he makes his position clear very early on, he is after money and nothing else. There is no double play here, Django doesn't act with the same grace and precision Joe did, and he doesn't' care much for it either, Nero's character is a killing machine, and the contents of the coffin he drags show that ability of his. First things first. When watching "Django" it is recommended that you see the Italian version. The English dub is not only corny but it also cuts a crucial portion of the plot regarding racial discrimination. So if you have a chance to see the movie in it's original language I suggest you see that version. Anyways. There is an established consent that "Django"'s plot is a remake of Leone's "A Fistful Of Dollars" which in turns was a remake of "Yojimbo". While I agree that at some point "Django" does present a variation of the same story found in those films, I fail to agree that it is a complete remake. As noted above "Django"'s characters hold no similarity to those found in the previously mentioned movies. Further more Corbucci's own brand of story-telling tends to be a bit more brutal and violent than normal, his vision is accompanied with such acts that could leave a normal audience disturbed. One particular scene comes in mind. There a character has his ear cut off, is forced to eat it and is then gunned down. Such displays of brutality supplemented with the racist elements in the plot, greatly deviate "Django" from the movies that it's allegedly remade of. Any negative comments on Franco Nero's performance are simply impossible, he does his job perfectly in creating Django's threatening, grim, bad-ass image and the entire movie and Corbucci's direction is focused around it. And speaking about direction, Corbucci demonstrates his style in perfect fashion. Once again as in Leone's films the sets are used as an enchanting factor during shootouts, with the great cemetery duel taking the cake for it's artistic level of detail. It is noted that Corbucci employs several elements that he would later re-use in his most powerful work "The Great Silence", for example the protagonists in both movies had their hands crippled shortly before their final confrontation with the antagonist, or their duty-bound temper that leads them to that moment. Both movies use those elements for different goal, but let's not detract on that. Unlike Curbucci's previous "Navajo Joe" here the score is supplied by Luis Bacalov, who does a commendable job with an especially catchy opening theme song. Evidently enough Sergio Corbucci's "Django" is a one of the best Italian westerns you could find. It's rough, brutal nearly sadistic content makes it hard for most mainstream audiences, but if you have the guts and open mind and love the genre this one is a definite must.
    David L Super Reviewer

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