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Buy Il buono, il brutto, il cattivo 1966 Movie Online 1080p, 720p, BRrip and MOV
USA, Italy, Spain, West Germany
Action, Adventure, Western
IMDB rating:
Sergio Leone
Eli Wallach as Tuco
Lee Van Cleef as Sentenza
Aldo Giuffrè as Alcoholic Union Captain
Luigi Pistilli as Father Pablo Ramirez
Enzo Petito as Storekeeper
Claudio Scarchilli as Mexican peon
John Bartha as Sheriff (as John Bartho)
Antonio Casale as Jackson / Bill Carson
Sandro Scarchilli as Mexican peon
Benito Stefanelli as Member of Angel Eyes' Gang
Angelo Novi as Monk
Storyline: Blondie (The Good) is a professional gunslinger who is out trying to earn a few dollars. Angel Eyes (The Bad) is a hit man who always commits to a task and sees it through, as long as he is paid to do so. And Tuco (The Ugly) is a wanted outlaw trying to take care of his own hide. Tuco and Blondie share a partnership together making money off Tuco's bounty, but when Blondie unties the partnership, Tuco tries to hunt down Blondie. When Blondie and Tuco come across a horse carriage loaded with dead bodies, they soon learn from the only survivor (Bill Carson) that he and a few other men have buried a stash of gold in a cemetery. Unfortunately Carson dies and Tuco only finds out the name of the cemetery, while Blondie finds out the name on the grave. Now the two must keep each other alive in order to find the gold. Angel Eyes (who had been looking for Bill Carson) discovers that Tuco and Blondie meet with Carson and knows they know the location of the gold. All he needs is for the two to ...
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The good the bad and the ugly
A pure western.Will always be remembered for its great music and the personality of Clint Eastwood.In fact this was the film in which Clint Eastwood made his name.

Both Lee Van Cleef & Eli Wallach put in sterling performances.The direction is exceptional The real merit of this movie is that it brings to light the exact situation in the USA around the period 1864-65 when the confederates were losing the war.There was confusion & chaos all around & no real authority.Hence the proliferation of a number of bandits and outlaws.

The photography and direction are breathtaking and there is areal attempt to bring out the characters of those who dominated the period.Life could be extinguished at any moment & a man had to live by his wits and by his guns.Women were fair game to any outlaw.Hanging and capital punishment were routine

This was the real United States of that period and they could practice this culture in isolation,as the communication & technologies of the period were highly limited compared to today.
Words cannot describe the enormity of this film.
There are certain things in life that are unexplainable and incomprehensible in their magnitude. These exalted anomalies include - in no particular order - Revolver, Guernica, The Sistine Chapel, The Ninth Symphony, The Waste Land, Macbeth and then there is this.

This movie expresses a gamut of emotions; every new scene shows a side of a character that one thought was unimaginable; the acting is nothing less than breathtaking and the use of sound and music is unprecedented.

I don't often make bold, sweeping statements, but here goes: this movie could not have been made any better in any regard possible.

Tarantino was quoted as saying that this movie is the best directed movie of all time; who am I to disagree with him? 10/10 without a shadow of a doubt.

P.S. I would have given it ten even if it were based on the Standoff alone.
A True Masterpiece
People like to throw the term 'Masterpiece' around and rarely is it ever as apt and as TRUE when concerning Sergio Leone's The Good the Bad and The Ugly.

I mean, where to start? How about the music for instance, Morricone writes truly inspirational and masterful work, sure, everyone knows the theme tune, but his music has influenced EVERY western reference since. He captures the mood, the emotion and makes this movie EPIC with his wonderfully orchestrated scores. The landscapes and scenery are visually stunning and it's perfectly filmed for true atmosphere, intertwining with the aforementioned music, well it's nothing short of magnificent. Every scene is influential and significant, and equally as intriguing. The acting by Clint Eastwood can take no other meaning but 'cool'. He is what every gun-slinging', cigarette chewing cowboy is based on post-this and no doubt has inspired TONS of action heroes (Or indeed Villains) throughout cinema.

But the storyline isn't as basic as one would first imagine: three gunmen searching for a rather large sum of money, it seems that simple. However, all of the gunmen have complex personalities and none are flawless in moral judgment, to which it is hard to judge who is indeed 'Good', 'Bad' or 'Ugly'. The classic 'Good Versus Evil' situation that is such a frequent theme in film (And coincidentally, more often in westerns) is slightly blurred in The Good, The Bad and The Ugly and I personally think there is no definite and it is left up to the viewer to decide.

This movie is simply essential viewing, an all-time classic and much deeper than would first appear. Incredible.
An instant reminder of what a movie really is!
Civil War, gold is up for grabs, and three dirty cowboys all want it. Seems like a regular Western. It's a good thing film-directing God Sergio Leone and cowboy-extraordinaire Clint Eastwood paired up, because in that genre, there isn't a better match. To this day, there hasn't been a movie that comes close to the depth and craft that his movie produces.

It's a beautifully woven-together piece of cinema that Sergio knows what to do with. He creates a feeling of both intensity and humor by portraying the three key characters with one trait only; The Good (Clint Eastwood), The Bad (Lee Van Cleef), and The Ugly (Eli Wallach). These characters follow their own instincts, whether it be good or bad, and let nothing stand in their way of recovering the gold. The only problem is, they have to work together to get it. One knows the place of the gold (a graveyard), and one knows which grave it's buried under. Just how long does it take until the cowboys let their pride and betrayal ruin their treasure hunt? Though the beautiful directing is immensely distinct and original, the movie is very plot-driven. The characters don't matter to us. We could have The Good play The Ugly and it would still be the same outcome. But from Sergio's vision, comes a truly magnificent submission into the psychology of the Civil War civilians and determined, gun-shooting varmints.

At first, we meet the characters by obviously seeing them do what they're intended to do. The Ugly robs a store, The Bad kills a few people, and The Good saves someone's life. After that, we see that The Ugly and The Good are actually working together to do what dirty cowboys do best; collect their money. Upon finding out about the treasure, all three characters become The Determined, and both work together and hang each other by the necks (literally) to find the gold.

From beginning to end, "The Good, The Bad, and The Ugly" is utterly entertaining and unique. It can be called both a Western and a War movie. As the plot develops and thickens, we see more of the setting than in all other Westerns combined. Everything is twice as big, and everything is twice as dirty. A definite classic, that defined cinema in more than one way, with its memorable score, to the never before seen directing, the movie stands as one of (if not the) best movies of all time.
Second best movie in Leone's superb spaghetti western "trilogy".
Most people choose 'The Good, The Bad and The Ugly' as the best of Sergio Leone's superb spaghetti western "trilogy" (I'm putting trilogy in inverted commas because the three movies actually have no connection to each other, and Clint Eastwood, despite the "Man With No Name" tag, plays a different character in each). Now it's a very close call I admit, but as much as I love this movie I'm inclined to choose the one before it 'For A Few Dollars More' as my favourite. Anyway, this is still a superb piece of pure entertainment, and Leone's movies had a massive impact on not just the western genre but action and adventure movies of all kinds. Clint Eastwood is super cool playing "Blondie" just as he was as Joe in the first movie and Monco in the second. FAFDM added a strong supporting character by Lee Van Cleef, TGTBATU continues that (though Van Cleef is playing a completely different guy) and also brings in Eli Wallach as Tuco, who adds some nice comic touches. Blondie and Tuco have lots of great scenes together, but I could have done with a lot more Angel Eyes (Van Cleef), one of the greatest screen villains of all time. Having three strong roles instead of just Eastwood is one of the great things about this movie. Another great thing is the unforgettable score by Morricone. Morricone did some of his most memorable work with Leone, and this could just be the best of the lot. Certainly the main theme (a massive hit single in the late 1960s as covered by Hugo Montenegro) is one of the most recognisable and original pieces of film music ever. Another standout is the spectacular bridge scene, surely a direct inspiration for Peckinpah's 'The Wild Bunch', a movie which owed Leone a sizable debt in my opinion. It's very difficult to pick this movie apart and single out what is so great about it as it really works as a whole. There's almost nothing wrong with it. It's one of the greatest westerns ever made and a hugely enjoyable movie that is just as compelling on your tenth viewing as your first. If you haven't seen it before I still think watching 'A Fistful Of Dollars' and 'For A Few Dollars More' first is the smartest movie, despite the three movies being a trilogy in name only, and each of the three being able to stand alone. Each movie is brilliant stuff and each comes with my highest recommendation. Movies don't get much more entertaining than this!
A simple classic and a must see by every Eastwood fan
I have been a Clint Eastwood fan for years. But I have NEVER watched his Westerns. That's kind of idiotic isn't it?? Well suddenly I'm having an Eastwood movement and sinking myself into Westerns for the first time in my life and it only made sense that I start with what some critics and fans call "The Greatest Western ever made." In some respects I agree with that because it embodies everything that the Western is...even if you have never seen a Western you know the way they are supposed to go and The Good, The Bad, and The Ugly encompasses every aspect of the stereotypical Western. Also a film like this has to be judged by it's release time as well and for 1966, this film's violent and gritty story would have made heads explode and Eastwood's trademark Man with No Name made Eastwood the gosh darned coolest, slickest man in history. The story explodes into an epic 3 + hour (extended cut) film about three man of completely different personalities, backgrounds, and goals trying to find a hidden treasure by a Civil War soldier and stay alive while basically beating the living daylights out of each other. The film is gritty, bleak, and the three main characters are so watchable that each one could carry their own film.

Clint can you possibly say that name and then try to critique the man's acting. If you looked up the definition of masculine in the dictionary...there his picture would be...probably from this film. Eastwood's raspy voice, his "doesn't take any crap" attitude, and completely violent personality (in his characters of course) makes him the best gun fighter in ANY Western. He is the perfect leading man especially for a Western and he had to be THE GOOD in The Good, The Bad, and The Ugly. Eastwood is Eastwood and that is the highest compliment you can give. Lee Van Cleef embodies THE BAD, I mean the man has being a villain down to a science and although he doesn't share a whole lot of screen time with the stars he has his own brand of justice that makes him the perfect villain. In a lot of ways he is the polar opposite of Eastwood. He still has the raspy voice, and the cool demeanor and he has this killer instinct that makes him petrifying to see on screen. But all in all he doesn't get the majority of the story and there is a lot of back story to his character left unexplored. I would have loved to see a sequel or another story where he plays Angel Eyes because it would have great to see him back on screen in this role. And finally I save the best for last. I have found a new absolute favorite screen character in Tuco played by veteran actor Eli Wallach. Tuco is THE UGLY in every way shape and form. His drunken, sarcastic, and annoying personality makes him the real stand out performance in this film. In fact he seems to get the majority of the lines and the screen time as we watch his journey to try and get rich. And on top of that the tumultuous relationship between his off again, on again partner Eastwood's "Blondie" as named by Tuco. The two of them start as partners until Eastwood turns on him and leaves him which only makes Tuco seek revenge in a horrible way, one of the great scenes where Tuco forces Eastwood across the desert nearly killing him in the process. But you know that can only mean Eastwood will get the last word and he does. Tuco is amazing. He's hilarious, he's bumbling, but he has fantastic good luck when it comes to getting away and on top of it all despite his humorous character he's not easy to kill or a push over. He's blood thirsty, crafty and skilled as a gun man and a villain. The whole film must be watched for Wallach's Tuco alone.

This is my first taste but not my last of Eastwood Westerns and Sergio Leone who apparently is the be all and end all of Action western directors. I have the first two installments of the Man With No Name trilogy fired up in the VCR and ready to go. The Good, The Bad, and The Ugly in many ways is not outstanding and yet it has this mysterious quality that just sucks you in and makes it an absolute classic. From the dusty streets of the Western town amidst the brooding Civil War and the front, this film encompasses everything. And you can't mention the film without pointing out that haunting Western theme which almost seems like it's used comically but perhaps that's because it has been used as such in the future. You can't ever start a love for Westerns without seeing this...I have no doubt. And it will permanently go down in my books as one of my favorite Westerns. I will say it didn't need to be as long as it was and perhaps more of a climatic ending would have been nice but it's a classic and you can barely pick it apart. Made on a million bucks and probably 100 times that made back. Just see it!! 8.5/10
Fantastic, legendary masterpiece
In New Mexico Territory circa 1862, a mysterious bounty-killer known as "Blondie" (Clint Eastwood) and a shifty Mexican bandit, Tuco Ramirez (Eli Wallach), run a con job wherein Blondie turns Tuco in for money and then rescues him, splitting the reward money. However, the two engage in numerous double-crossings against each other, until stumbling across a dying Confederate soldier (Antonio Casale) who gives each man a clue to the location of a hidden cache of gold. Tuco and Blondie re-form their alliance to find the gold, only to find that Angel Eyes (Lee Van Cleef), a ruthless hired gun, is already after the gold. The three men form a frequently-changing series of alliances to get at the gold, and they must avoid the Union and Confederate armies operating in the region.

"The Good, the Bad and the Ugly" is a landmark film in many respects. Its cultural influence is nigh-impossible to overstate, with its iconic musical score by Ennio Morricone, three memorably amoral protagonists, the close-ups, vast landscapes, and the title itself, all of which are instantly recognizable icons of cinema, having been referenced and replicated time and again in movies, TV shows, and even commercials. It is Sergio Leone's first truly great film, a transition from the low-budget Spaghetti Westerns ("A Fistful of Dollars", "For a Few Dollars More") to the big budget, artistic epics that Leone would make for the rest of his career ("Once Upon a Time in the West/America"). It is also a film of utmost importance to me; after watching this movie as an eleven year old, admiring its wonderfully quirky characters, style, music, and breath-taking cinematography, I realized for the first time that I wanted to devote my life to films, be it watching them, writing on them, or hopefully making them.

"The Good, the Bad and the Ugly" is a full-blown epic, and one with an interesting subtext. We see three completely amoral characters whose crimes - robbery, murder, and racketeering - are minor compared to the brutal carnage we see the Civil War inflicting. Taking place during the little-known Sibley Campaign in New Mexico, the film is not a documentary depiction of the war, but an allegorical one. This was the first total war, and Leone uses it as a metaphor for conflict in general, with faceless mass slaughter inflicted by rifles, machine guns, and artillery. Blondie, Tuco, and Angel Eyes' transgressions are minor compared to a brutal, Auschwitz-like concentration camp, spies being executed in the streets, towns being shelled, and vicious, stalemated trench warfare over a "flyspeck" of a bridge. Even our amoral heroes have amounts of humanity which set them apart from the machine-like slaughter around them; Blondie saves Tuco's life and comforts dying soldiers of both sides; Tuco struggles with a mixture of affection and hatred for Blondie, and his troubled relationship with his brother (Luigi Pistilli), and even Angel Eyes shows disgust at the carnage he sees.

The movie is extremely episodic, the plot only secondary to the adventures of these characters. Leone's wonderful direction gives the film a fairy-tale quality, with an appearance of realism while being fanciful and at times almost surreal. The movie contains extremely memorable set pieces: the lengthy opening, with three gunmen going after Tuco; the "carriage of the spirits"; the prison camp; a shootout in a town under shellfire; an epic Civil War battle; Tuco running excitedly through the cemetery; and, of course, the unforgettable climactic "triello". Tonino Delli Colli's cinematography is simply breath-taking, with desert landscapes as impressive as David Lean's films contrasting with the most extreme close-ups imaginable. Carlo Simi's set designs, from shelled-out towns to prison camps to the cemetery, is breath-taking. And Ennio Morricone's score is, for lack of a better word, one of the most amazing ever written, the instantly recognizable theme tune and other brilliant pieces creating the movie's indescribable atmosphere.

The cast creates unforgettably iconic characters. Clint Eastwood is back as the Man With No Name, here much more human in this film despite retaining his cool, detached, shifty nature. Lee Van Cleef, who had played a likable character in Leone's previous film, now plays one of the most memorably evil characters ever. Aldo Giuffre, Antonio Casas, and Luigi Pistilli are effective in supporting roles, and Leone's usual stock cast - Mario Brega, Benito Stefanelli, Al Muloch, Aldo Sambrell, and many others - create their own iconography. But it's Eli Wallach who steals the show, as the scenery chewing Tuco, a shifty, double-crossing, foul-mouthed bandit who manages to be the most likable and human of the cast despite his faults; truly, one of the most memorable film characters ever.

"The Good, the Bad and the Ugly" is one of the most well-known and influential movies ever made, and with good reason. In terms of style, it is an absolute triumph, being one of the most amazingly made movies ever made. Those only familiar with the movie for its cast, its score, or peripherally through its iconic stature, are missing out on one of the most breath-taking cinematic experiences ever. Thank you, Sergio Leone.

Sergio Leone's penultimate Italian-western; a film that gets better with each passing year...
...and though those last several words could also be attributed to Leone's "Once Upon a Time" films (West and America) as well as the other pieces in his trilogy of films with Clint Eastwood- Fistful of Dollars and For a Few More Dollars- arguably this is the most ambitious and spellbinding one of the bunch, and one that has inspired (i.e. Quentin Tarantino, Sam Raimi, Robert Rodriguez) and will most likely continue to inspire filmmakers and fans into the 21st century. There's something in The Good, the Bad, and the Ugly that's nearly (or perhaps is) mythical in it's craft, certain scenes come off as being more than relevant and exquisite for that scene/sequence- it transcends into aspects of humanity.

For example, in the first part of the film (this is after the extraordinary introductions to Tuco, played by Eli Wallach, Sentenza or 'Angel Eyes', played by Lee Van Cleef, and as Blondie by a 35/36 year old Clint), Joe gets Tuco out of a hanging, which is something of a regular practice for them, but Joe decides to leave his 'buddy' out in the desert to walk the rest of the way back into town. A little later, the situation gets reversed, as Tuco has a horse and water and Joe doesn't, and they both go to cross the desert. Leone decides to not follow Tuco coming back to town as much as he follows in earnest Tuco and Joe going across that desert, as Joe starts to burn and dry up, going towards a story that will soon unfold. There is something to these scenes that I can barely describe, that they're executed in the mind-set of a Western, but in the abstract Leone lets the audience know this is a story that is bold and bigger than life.

What makes much of the Good, the Bad, and the Ugly such a huge success is the trust Leone had in his own style he spun into his own after the first two westerns, his trust in his collaborators, and in his leading players as well. I, for one, had to mistakenly figure out that it is near depressing to watch this film on a regular VCR tape due to the pan & scan process. There is such a clear, distinct visual scope that Leone and camera director Tonino Delli Colli achieve that it's practically a must to get the DVD (preferably the extended version, which was Leone's original cut more or less). The editing, too, is unique in many sequences (the climax is the most noted and memorable). The score, with usual collaborator Ennio Morricone, is one of the landmark movie scores, and themes, of not just in the western genre but in all movie history. And the three main players who take on the screen have their own chops to show off: Eastwood, technically, was playing a Joe that took place before Fistful of Dollars, yet by this film had it down to a T (it's still my favorite performance from him, despite having few words and reactions); Cleef's cold, cunning Angel Eyes steals the scenes he's in; ditto for Wallach, who gets under the skin of his co-patriots as much as he sometimes does under the viewer's.

Overall, The Good, the Bad and Ugly, is an entirely satisfying western, at least one of my five favorites ever made, and it's an endearing bravo to all who were involved. A++
acquaintance with western
I was born after 90-s and this film make me familiar with the genre "western". I want to say, there was one of the best three hours in my life, the atmosphere of that ancient times transmitted as good as it possible. You just forget about the present and dive into west with it bewitching characters, revolvers and gold hunting. Not the first time I notice, that films of 60..70-s are much better transmit the picture for viewer, directors of that time exactly knew what to show. Tongue does not turn to call the special effects "pure" or "funny", cos they seems more real in this picture, than all modern effect together. The great soundtrack was the thing, because of which goose appears on my hands and the room fill with heroes's tension and resoluteness. So, I was very pleased, watching this film and soon will continue getting familiar with this genre and creations of great Sergio Leone.
The best movie ever made
Sergio Leone's massive epic is one of my favorite films, pitting a manic Eli Wallach as Tuco against an autistic Clint Eastwood (Leone: Eastwood has two acting emotions, with hat on and hat off). Lee Van Cleef hovers around the the center of the film menacing everyone, although his performance fades between the tension of Wallach and Eastwood. Ostensibly a story about the search for buried gold, GBU undercuts its exploitative surface by giving us almost Beckett-like relationship between a man that is wanted for murder and his partner who turns him in for the reward and then shoots the rope off his neck, a droll comment on human existence if there ever was one. Other existential moments occur in this rich film, such as the beautiful song the confederate prisoners sing while Angel-Eyes tortures Tuco, and the essay on the nature of the futility and pointless brutality of war appears when Tuco and Blondie witness a battle on a bridge they must cross.

Chaotic, cynical, sentimental, violent, GBU resembles an opera more than anything. Amazingly, when this film first appeared in 1967, most critics wrote it off as one more Spaghetti Western, not seeing the fatalism, the grandeur, and the comedy of this world classic. How could you watch a film with a score like Morricone's finest and not be impressed? Don't mistake this film for realism and criticize it on that basis, as some reviewers have done. This is not a documentary-style Western (for that see McCabe & Mrs. Miller), but a Romance, based more in the imagination, more in symbolism, bowing to the classical westerns stereotypes and clichés.

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