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.
This is a great Spaghetti Western, full of the jarring violence and an otherwise languid pace that the genre seems to be known for.
Django cuts quite the intimidating figure, dragging a coffin into town, effortlessly killing those who get in his way, this is well worth a look.
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
Briskly paced with a ludicrous body count and a sadistic streak, Django also has one of the all-time great Western showdowns, mud wrestling prostitutes and a theme tune so good that Tarantino used it in his version.
A Well-Deserved "classic" metal.Echoed intro music and an anti-protagonist dragging a coffin that hiding something gigantic that could kill 40 men or more than that.Can you say no?unless you are not fancy with oldies,then sorry to you that you truly miss real-good stuff.
d; the main character drags around a coffin the whole film which no one knows what resides inside.... yeah, that's why you should check this one out.