Gritty, violent and over the top spaghetti perfection. Avoid the English dub!
Compelling Spaghetti Western is extremely violent as mysterious man carries coffin to town where he gets on bad sides with both Southern racists and a Mexican rebellion; at turns, both bloody and sadistic. Now-legendary title song, with a terrific finish. Franco Nero is quite effective as Django.
Violent, much?! Not the best voice-over.
Memorable movie, though.
Django is in my opinion the greatest western of them all, Django played by the great Franco Nero, is a mysterious man who walks into town dragging a coffin behind him. Django is a man who finds himself in the middle of a war between Mexican revolutionaries and Sadists. Django fights for himself siding with neither of the parties.
Many people feel that the film is politically motivated, but I don't like to see the film in a political way, I like seeing it as a film. I see Django as the greatest western off them all (alongside The Wild Bunch) the film is so iconic, the way Django drags his coffin behind him in the mud, the close up shots of Franco Nero's face, the scene where Django shoots and kills many of Major Jackson's with his Gatling gun hidden in his coffin, and the crushing of Django's hands with the butt of a rifle. These stylish moments put together collectively make Django the masterpiece that it is, it is very easy to see how Quentin Tarantino was inspired to make the rather uninspired Django Unchained.
The use of Django's theme song in Quentin Tarantino's Django Unchained is an insult to this 1966 classic masterpiece the only thing that the two movies share is the use of Django's theme song and one of the greatest cameos of all time by Franco Nero other than that, Django(1966) is an innovative memorable picture and Unchained(2012) is a far too cartoonish and over the top movie.
Overall the movie is one of the greatest films I've ever seen, the acting is masterful, the plot is simple but is backed by an atmospheric setting, there is plenty of action (needed in westerns, very anti-High Noon), the film is thought provoking and stylish, masterpiece.
Lone, tough guy gunslinger arrives in the area hell bent on revenge for the death of his wife, rescues a damsel in distress, outgunning the bad guys in the process. Damsel in distress turns out to be a whore from a town where every woman is a whore. There are no other sort of women in this film. Django escorts whore to the whore's town where, after more tough gunslinger cliches, he outguns more bad guys. And so it goes on. He places himself between two rival factions: proto-KKK racist supremos and stereo-typical Mexican bandits. Starting with the former, the slaughterfest accelerates. The film then lurches from one slaughterfest to the next interspersed with moments of sadistic brutality, and more tough guy, cliche-ridden dialogue. Django's original motive for revenge soon takes second place to another motive, stealing gold. Oh! And he also lugs around a coffin containing a deadly secret, begging the question why, as a tough, grizzled gunslinger used to getting everything he wants, he has not got a horse and cart to start with.