The Great Silence (Il grande silenzio)1968
The Great Silence (Il grande silenzio) (1968)
The Great Silence (Il grande silenzio) Photos
as Sheriff Burnett
as Madre di Miguel
as One-Eyed Bounty Hunter
as False Sheriff
as Saloon Girl
Critic Reviews for The Great Silence (Il grande silenzio)
Nothing works out the way these people, not to mention audiences who love classic Hollywood westerns, expect. Not even close.
The mood is sometimes jaunty, but "The Great Silence" is no joke, and the fatalism of its ending serves as an implicit critique of the sentimental optimism of many Hollywood westerns.
Corbucci constantly subverts the generic tropes that he dabbled with two years earlier in Django, that blood-soaked and oft-imitated riff on A Fistful of Dollars.
Even 50 years later, The Great Silence stands majestically as both a blistering comment about its era and a creatively revisionist genre piece.
It's been called "great" and "Corbucci's masterpiece." It just might be.
Audience Reviews for The Great Silence (Il grande silenzio)
I'm no expert on the genre of Spaghetti Westerns, but this ranks, I feel, as an excellent example. The cinematography is absolutely brilliant-bleak, stark, and quite stunning- a true visual delight. Jean Louis Trintignant and Klaus Kinski are superb in their respective roles of a mute gunfighter who stands up for what's right and the sadistic bounty hunter he goes up against. Another highlight to the film is Ennio Morricone's score. It's not as good as the scores he did for Sergio Leone's Spaghetti Westerns, but it's still pretty awesome. I liked how the film didn't pull punches with the content, especially the ending, and give it props for having an interracial love scene in an era where that was still something very uncommon and bold. All in all, this is a very off-beat and different film, even for a Spaghetti Western. Go check it out.
Certainly the most bleak spaghetti western. If you think about it, that is saying a lot.
The beauty of Il Grande Silenzio is that it tells such a dark tale in the most straighfoward manner possible. It forgets about the western myths and goes for the crude aspects of this world. Silenzio is not a hero, just a man defending himself, Loco is not a cartoonish "bad guy", just somebody doing his job. With bountys over the heads of poor people trying to survive private property becomes more valuable than human beings. When the ending arrives it never feels forced or out of logic. It was the only way in which this story could be finished. There are no heroes here, just another pile of nameless corpses, and somebody with more money in the pocket.
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