| Photos (see all 154 | slideshow) |
| Sat. July 12 | 12:00 PM | AMC | |||
| Sun. July 13 | 4:00 AM | AMC |
| Eli Wallach | ... | Tuco | |
| Clint Eastwood | ... | Blondie | |
| Lee Van Cleef | ... | Sentenza / Angel Eyes | |
| Aldo Giuffrè | ... | Alcoholic Union Captain | |
| Luigi Pistilli | ... | Father Pablo Ramirez | |
| Rada Rassimov | ... | Maria | |
| Enzo Petito | ... | Storekeeper | |
| Claudio Scarchilli | ... | Bounty Hunter in Ghost Town | |
| John Bartha | ... | Sheriff (as John Bartho) | |
| Livio Lorenzon | ... | Baker | |
| Antonio Casale | ... | Jackson / Bill Carson | |
| Sandro Scarchilli | ... | Deputy | |
| Benito Stefanelli | ... | Member of Angel Eyes' Gang | |
| Angelo Novi | ... | Monk | |
| Antonio Casas | ... | Stevens | |
| Aldo Sambrell | ... | Member of Angel Eyes' Gang | |
| Al Mulock | ... | One-armed Bounty Hunter (as Al Mulloch) | |
| Sergio Mendizábal | ... | Blonde Bounty Hunter (as Sergio Mendizabal) | |
| Antonio Molino Rojo | ... | Capt. Harper (as Molino Rocho) | |
| Lorenzo Robledo | ... | Member of Angel Eyes' Gang | |
| Mario Brega | ... | Cpl. Wallace | |
| rest of cast listed alphabetically: | |||
| Chelo Alonso | ... | Stevens' Wife (uncredited) | |
| Román Ariznavarreta | ... | Bounty Hunter (uncredited) | |
| Frank Braña | ... | Bounty Hunter #2 (uncredited) | |
| Saturno Cerra | ... | Bounty Hunter (uncredited) | |
| Luigi Ciavarro | ... | Member of Angel Eye's Gang (uncredited) | |
| William Conroy | ... | Confederate Soldier (uncredited) | |
| Jesús Guzmán | ... | Pardue the Hotel Owner (uncredited) | |
| Víctor Israel | ... | Sergeant at Confederate Fort (uncredited) | |
| Nazzareno Natale | ... | Mexican Bounty Hunter (uncredited) | |
| Ricardo Palacios | ... | Bartender in Socorro (uncredited) | |
| Romano Puppo | ... | Clem (uncredited) | |
| Antonio Ruiz | ... | Stevens' Youngest Son (uncredited) | |
| José Terrón | ... | Thomas 'Shorty' Larson (uncredited) | |
Directed by | |||
| Sergio Leone | |||
Writing credits | ||
| Luciano Vincenzoni | (story) & | |
| Sergio Leone | (story) | |
| Agenore Incrocci | (screenplay) (as Age) & | |
| Furio Scarpelli | (screenplay) (as Scarpelli) & | |
| Luciano Vincenzoni | (screenplay) & | |
| Sergio Leone | (screenplay) | |
Produced by | |||
| Alberto Grimaldi | .... | producer | |
Original Music by | |||
| Ennio Morricone | |||
Cinematography by | |||
| Tonino Delli Colli | (director of photography) | ||
Film Editing by | |||
| Eugenio Alabiso | |||
| Nino Baragli | |||
| Joe D'Augustine | (restored version) | ||
Costume Design by | |||
| Carlo Simi | |||
Makeup Department | |||
| Rino Carboni | .... | makeup artist | |
| Rino Todero | .... | hair stylist | |
Production Management | |||
| Fernando Cinquini | .... | production manager | |
| Aldo Pomilia | .... | production supervisor | |
| Gray Frederickson | .... | production manager: USA (uncredited) | |
Second Unit Director or Assistant Director | |||
| Fabrizio Gianni | .... | assistant director | |
| Giancarlo Santi | .... | assistant director | |
Art Department | |||
| Carlo Leva | .... | assistant art director | |
| Carlo Simi | .... | sets | |
| Tani | .... | equipment | |
Sound Department | |||
| Vittorio De Sisti | .... | sound engineer | |
| Elio Pacella | .... | sound engineer | |
| Fausto Ancillai | .... | sound mixer (uncredited) | |
Special Effects by | |||
| Eros Bacciucchi | .... | special effects | |
| Giovanni Corridori | .... | special effects (uncredited) | |
Stunts | |||
| Fabio Testi | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Franco Di Giacomo | .... | camera operator | |
| Sergio Salvati | .... | assistant camera | |
Costume and Wardrobe Department | |||
| Antonelli | .... | costumes | |
Music Department | |||
| Giuseppe Mastroianni | .... | music recordist | |
| Bruno Nicolai | .... | musical director | |
Other crew | |||
| Carlo Bartolini | .... | production assistant | |
| Serena Canevari | .... | script girl | |
| Luigi Corbo | .... | production secretary | |
| Mickey Knox | .... | dubbing director (english language version) | |
| Eugenio Lardani | .... | title designer (as Lardani) | |
| Antonio Palombi | .... | production secretary | |
| Federico Tofi | .... | production assistant | |
| Carlo Romano | .... | voice dubbing: Eli Wallach (uncredited) | |
Thanks | |||
| Clint Eastwood | .... | thanks (2003 extended version) | |
| Alberto Grimaldi | .... | thanks (2003 extended version) | |
| Eli Wallach | .... | thanks (2003 extended version) | |
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| Per qualche dollaro in più | C'era una volta il West | Indiana Jones and the Temple of Doom | Chik yeung tin si | Léon |
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On a partial first viewing, I didn't like "The Good, the Bad and the Ugly." I thought it was a slow, tedious story about a bunch of unpleasant jerk characters involved in a bog-standard conflict over money. It all seemed very macho and self-consciously cool, and it had obviously inspired all the overrated macho directors I don't like in my own generation - Tarantino, for example, and Robert Rodriguez. In short, I was unimpressed.
Years later, I gave the film a second shot, watching it all the way through this time. I loved it. What had changed?
For one thing, I took more notice of the technical side of the film. I paid attention to Leone's famous use of close-ups, his selection of memorable character actors, and his wonderful scene-setting. I admired the detailed sets and the sweeping landscapes, the props and the costumes and all those weird, wonderful faces that Leone clearly loved to photograph.
I also got hooked by some of the quieter moments that I had skipped over in my first viewing. One of the most effective scenes involves Eli Wallach's character, Tuco, quarreling with his brother when they meet after they've been apart for years. Their argument is great, emotionally charged stuff, made all the more effective by the suggestion that they really do love and care about each other. It's the kind of sensitive, human scene you never get to see in a Tarantino or Rodriguez movie.
Before I get too fuzzy-wuzzy, I should also like to point out that, on my second viewing, I LOVED all the action, too. Every gunfight is great, in its own way, and they're all a bit different. The greatest of them all is, of course, the final confrontation between the trio, which is accompanied by some of the most rousing music I've ever heard in a film. And hey, there's even a huge Civil War battle to provide a change of pace from all the small-scale action.
Ultimately, "The Good, the Bad and the Ugly" is probably just a potboiler of a film, without too much to say about, for example, the human condition. But what a potboiler! It doesn't have to try to be cool - it simply IS cool. In fact, it probably defined heroic coolness for an entire generation. Eli Wallach's performance, Leone's direction and Morricone's music alone are enough to elevate it to classic status - and the fact that everything else in the movie is great, too, helps elevate it to the level of perhaps the greatest action film ever made.
And to think, I missed all that the first time through...