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Buy The Good, the Bad and the Ugly 1966 Movie Online 1080p, 720p, BRrip and MOV
Year:
1966
Country:
USA, Italy, Spain, West Germany
Genre:
Action, Adventure, Western
IMDB rating:
8.9
Director:
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 met with Carson and knows they know the location of the gold. All he needs is for the two to ...
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Reviews
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.
2009-04-04
Who are you calling ugly?
In the last of the so-called 'Dollars' trilogy Eastwood now plays a man called Blondie (despite clearly having brown hair) who has hooked up with Tuco, a bandit with an amusingly long list of crimes, to run a reward-and-release scam with various towns and cities across the Old West. Soon tiring of Tuco's behavior, Blondie ends their volatile partnership and heads off on his own.

Angered by the double-cross, Tuco exacts a laborious revenge on Blondie, but just as the punishment reaches its zenith under a burning hot sun in a remote part of the desert a wagon carrying dead Confederate soldiers interrupts. With his last breath, the sole surviving Rebel tells Tuco of a stash of treasure buried in a cemetery, and, while Tuco is distracted, tells Blondie what grave it is buried under. Their difficult partnership is quickly restored as they trek across the West, through Civil War conflicts, towards the treasure.

So far I've only covered the Good and Ugly. The Bad just so happens to be Angel Eyes (Lee Van Cleef), a ruthless mercenary who has also learned of the hidden loot and eventually crosses paths with his rivals. He has the least screen time, but is necessary as a pure villain to lessen the crude vulgarity of Tuco.

It's a long film. But it's not about the destination, it's about the journey, and Sergio Leone allows himself plenty of time and space to indulge in quirky idiosyncrasies. I especially like Tuco having a bubble bath in the midst of his current location being blown to smithereens.

Villains always interest me, and actors mostly choose villains over heroes as they make for better characters. Blondie may comfort dying soldiers and play with kittens, but he's just too bland. Angel Eyes, is hardcore, and a better character, but he's nothing compared to Tuco. Eli Wallach owns this film, and takes most of the screen time away from Eastwood and Van Cleef. The scene where he searches the cemetery, as the camera spins around and around and around has such a beautiful innocence to it. Even though Tuco may have killed and robbed many this scene makes him seem like an easily excitable child at heart. It's absolutely wonderful.

If you've got an evening free, and just don't know how to spend 3 otherwise empty hours, The Good, the Bad, and the Ugly is a fine way to spend them.
2012-01-23
This movie is Flawless...this movie has no parallels...this is the Best one I 'll ever see.
I want the rating meter to allow me to rate it more than 10. I love this epic movie. Patiently shot and created , it exudes a scent of eternal beauty. This is my friends every movie goer's delight. A movie which can't be bettered. Full of outrageously funny puns and comic lines; made with an audacious appetite for cinematic patience, this movie has it all.

The background score is classic. I still get charged when I see the final scenes of the movie playing to Ennio Morricone's The Trio.

Deep dialogues an unbelievably smooth screenplay this movie is perfect.

It's detractors complain that some parts are overdone and are too clichéd. Well those things hardly matter when you have Blondie, Tuco, Angel Eyes , The drunk Army Captain on screen exhibiting something completely out of this world in terms of cinematic achievement.

I have never seen a better genre in movies than westerns and in that genre this movie stands out. This movie is undoubtedly the greatest one ever made in any genre.
2010-03-04
Perfect.
"The Good, The Bad and the Ugly" is the kind of film that needs to be seen by everyone. I'm going to make each one of my kids watch it when they get to be like 10 years old. It's a film that absolutely captures the essence of what life is all about. There really are only three types of people out there, and the three characters in this film are complete, yet simple, portraits of those three types.

The hairs on my arms stand up every time I watch this film, especially during the final scene. Sergio Leone knows how to build a scene. Ennio Morricone's music is absolutely perfect with this film. It's hard to think of a movie with a better soundtrack actually.

To summarize: brilliant, breathtaking, mesmerizing...and like a fine wine, this one just gets better and better. So far ahead of it's time, it blows your mind. "The Good, the Bad and the Ugly" is one of the greatest movies ever made.

10 out of 10, kids.
2008-02-16
They don't make 'em like this anymore.
This movie is a classic. It's spectacular, it's thrilling, it's beautiful. You won't find anything like this now-a-days, no matter how hard you try. Anyone who hasn't seen this movie should be ashamed of himself.

The plot is simple - Blondie (Clint Eastwood), the Good, Tuco (Eli Wallach), the Ugly, and Angel Eyes (Lee Van Cleef), the Bad, are all after a stash of Confederate gold, holding 200,000 dollars in gold, during the American Civil War. Seems like a pretty simple plot for 1 and a half hours, let alone 3. So what drives this movie? Style. Cinematography. Atmosphere. Let me explain.

The first scene in the movie is the (rather unappealing) face of a bandit. It then switches to a wide shot of the small town he and his two companions are entering. A few more shots of the bandits. They enter an inn, and gunshots are heard. Out the window comes charging Tuco, clutching a gun in one hand and meat in the other. The image freezes while he's in midair, and the writing "The Ugly" appears on the screen. The first half hour or so serves to introduce the three main characters in similar fashion. No plot progression whatsoever, merely introduction. Most movies would fall with a start like that, but not this one. It takes more than an hour before the rush for the gold begins, and by that hour you already know everything you can and need to know about the three anti-heroes: Blondie is the Good. He is not good at all under normal standards, as he is an outlaw, a killer and he betrays his "friend". But he seems good in comparison to the other slime-balls in the movie: Tuco is a villain, pure and simple. He steals, murderers, rapes, and does a bunch of other nasty things. But he is still fun and amusing, while the sinister Angel Eyes stands in comparison - a menacing figure in black clothing with an evil mustache, who kills and double-crosses without blinking for a few more dollars.

And the movie doesn't follow a plot. The plot is just a background for the amazing scenes that come one after another and construct the movie - you go from one scene to the other. And there are many memorable scenes in this movie: The first time Blondie shoots the rope before Tuco is hanged to death. Blondie's march through the desert. Tuco and Blondie's capture by the Yankees. Tuco's torture. Tuco's gunfight in the tub and the classic line that follows. The showdown in the deserted town. The bridge being blown up. Tuco's search for the grave. And of course, the amazing climax. But I'll get to that later.

We've covered the style, but I also mentioned cinematography and atmosphere. And the cinematography is amazing. Wide shots of towns and deserts zoom to close-ups of desperate and rugged men. The effect is amazing, especially during gunfights. It creates tension and suspense, and that leads me to the second point I mentioned: atmosphere. This feels like the West. The people look dirty and hard-working. The buildings look rickety. And when time is spent looking at each other before the guns are drawn for a few short seconds when the men fire at each other, you feel what it's like to be there.

And finally, as I mentioned before, the climax. Possibly the best climax in a movie ever. A Mexican Standoff between the three main characters in the film - Blondie, Angel Eyes and Tuco. The Good, the Bad and the Ugly. Minutes pass as they stare at each other, each bringing their hand a bit closer to the gun. The music becomes more and more dramatic as time passes. You wait, and then... They fire, and it's over. A duel as a duel should be. It's mind-blowing.

Few movies can reach the level of this masterpiece. Fewer still can surpass it. They don't make 'em like this anymore, and it's a damn shame.
2006-01-19
This is the reason why Leone is the greatest at what he does.
Before watching this movie, I have seen A Fistful of Dollars and For a Few Dollars more and I was quite impressed with both. However, after I have seen this, Leone instantly became one of my favorite directors. Leone has a distinct style in his films and this movie pulls it out 150%.

The cinematography in this film is incredible. His use of extreme long shots and extreme close ups are unsurpassed. The film opens with the close up of a man with an expressionless face creating a sense of mystery and excitement. What will this guy going to do? What's going to happen? Then we are introduced to two new unknown men and the three walk towards the entrance. Silence. Then suddenly, the 3 bust in, guns are shot and Tuco busts through the window and escapes with a half eaten chicken (or pork) leg. One of the men is injured, tries to make a futile final attempt to kill him and falls to the floor; the other 2 are already dead. Just in that one scene, we are introduced to Tuco and can already guess his character, his background info, and skill... without a single spoken line of dialogue.

As a matter of fact, nobody speaks until about 10 minutes into the film. It is all visual. We, the audience, are forced to imagine what the characters are thinking, what might be taking place. Leone gives the viewers a chance to guess what might happen. Even in Once Upon a Time in the West, we see his mastery at the No-Dialogue introduction. I also believe that this is his way to introduce the character's personality traits without the viewers actually knowing that they know it. A subtle technique so when they see a character do something later in the movie, the viewers can accept the character's actions.

However, Leone would not be as great as he is if it wasn't for his partner Ennio Morricone and his unique and memorable soundtrack. The coyote-like music sets the mood for this film like no other western. It is something you must listen to and experience it to retain the full appreciation of it, and know why it has become the trademark music for the western genre.

These techniques go on throughout the film and bring us to the ultimate scene in film history, where Leone's style shines to it's full extent. His incredible use of long shots to set the stage, close ups to catch the expressions, music to set the mood, montage to create the tension, expand it and finally when you are at the edge of you're seat, the scene goes off like lighting in the incredible climatic ending.

Leone is not just any director. He is one of the best, and THIS is his western!
2006-10-15
"There are two kinds of people in this world, my friend"
Sergio Leone always wanted every picture he made to be, in every way, bigger than the one which preceded it. With the Good, the Bad and the Ugly he continued his upward trajectory and rounded off his dollars trilogy in style.

This picture was Leone's most stylised and grandiose to date, and brought all the themes and styles he had been developing in his earliest films to perfection. Among the most notable was his characterisation, particularly his all-important introductions of characters. Look at the introductory scenes of the three leads. We first see Tuco bursting out of a window, obviously interrupted in the middle of a meal, and straight away we get his freeze-frame and the title "the ugly" – this is a simple character, and needs no further introduction. Angeleyes appears out of the distance, but grows towards us until his face fills the screen. We see him commit two despicable acts of murder and treachery before we get his freeze-frame and title "the bad", telling us he is pure evil. Finally, in Blondie's first appearance he steps into the frame from behind the camera, as if he had always been there. He rescues Tuco, but only for his own profit. It's not until we have seen him betray and abandon Tuco that we get his freeze-frame and title "the good" – obviously a fairly ironic label given the way he has just acted.

Leone's trademark long drawn out face-offs – exaggerated versions of the shootouts of John Ford westerns and the sword duels of Kurosawa's samurai films – are also brought to a peak here. Not only are they now taken to absurd heights of stylisation, they are also spread out and adapted to cover the whole picture, until the point where even two men sitting opposite each other eating a meal and glancing suspiciously at one another is treated like another stand off. In fact, the entire film can be considered one long series of duels.

We also see more of the importance Leone attaches to church and family. The Dollars trilogy could be thought to lack emotion, taking place as it does in a world where there are no morals and everyone is out for gold. However the Good, the Bad and the Ugly contains several moments of poignancy, perhaps the most prominent of which is when Tuco confronts his estranged priest brother.

Religious iconography and references crops up time and again. Leone loved biblical epics almost as much as he loved westerns, and there is something of the feel of those pictures here in the overwhelming landscapes and eerie, choral music. On top of this the central trio can be read as an allegory for God, the Devil and humanity. This arguably presents rather a cynical view of the Catholic faith – given the treacherous and chequered nature of the "good" – but it could be argued to be a typically Italian one. In a country in which the church is so omnipresent and universally accepted, it's sometimes said that God is cursed as much as loved. Having said that, this was clearly never intended as the central theme – Leone wasn't trying to make some grand statement here – it's simply part of the mix of ideas going on in this picture.

This brings me onto the war theme. Anti-war sentiments are not directly addressed in this picture, but the way the civil war is woven into the plot makes a powerful statement. For the first half hour we don't see that the war is going on. The central characters aren't concerned with the it – they are only interested in hunting down the gold. However the war encroaches on the plot more and more often, until it moves from background to foreground and takes over the entire picture, culminating in a colossal battle scene. And of course the fact that the film ends in a huge military graveyard is also very significant.

I've spent so long talking about the themes and ideas going on in this film I've nearly run out of space to talk about all the genius that has gone into making it so enjoyable. The dialogue is superb, often funny and plenty of it quotable. Technically Leone has perfected his art – he composes a shot like John Ford, edits like Eisenstein, paces like Kurosawa, but all with a degree of his own originality. There is brilliant acting – Eli Wallach steals it as Tuco, probably his best ever performance. It's funny how Lee Van Cleef was cast as a villain here. Van Cleef's early career mostly involved playing mean-looking gang members, but as Leone discovered when casting him as the hero in For a Few Dollars More, while his face said "bad guy" his voice and manner could be warm and likable. The good guy Van Cleef obviously proved more popular, as in the dozen or so other spaghetti westerns he made for other directors he was invariably cast as the hero.

Just time for a final word on the recent (2003) restored edition. While it's great that several lost scenes have been added, I have to say that very few of them were entirely necessary. The only one of the added scenes I really like is the one in which Angeleyes visits the field hospital – it keeps his story arc going, and also shows an act of compassion from the "bad" when he lets the soldier keep the bottle. However the new dubbing for these scenes, strange as it may seem considering today's technology, is mixed absolutely atrociously. On top of this, Clint Eastwood and Eli Wallach are now so elderly, they actually sound less convincing than the guy impersonating the late Lee Van Cleef. As a result the restored segments stick out like sore thumbs, and break up the flow of what is in every other way a perfect motion picture.
2006-11-25
Timeless
Varying opinions on this film posted, but for me its a top quality, ground breaking film that is timeless. This is the ultimate test of a great film. It stands up with any modern classic, it has humour, twists, stylised violence, and its just a top film.It wasn't the first spaghetti western i know, but i think its by far the best. I just wish they had done a sequel to this. Some how i don't think Tuco was a man to take this lying down .... or hanging around.

"Hey, Blond ... You know what you are? Just a dirty son of a-bi ....."

Tuco now had all the money he could wish for, but no one double crosses Tuco and lives . . .
2008-01-16
One of the Best of all Time
This film probably had the largest impact on my life. It set the tone for everything I then got interested in. American Civil War. Film Music. Clint Eastwood. Real Westerns. This is the best of the Dollars Trilogy and by far one of the best Westerns of all time. It has drama, comedy, cracking dialogue, some of the most brutal battle scenes - especially around the bridge - that I'd seen up to then, music to die for and set pieces that just ooze atmosphere and tension. I have never forgotten the end shoot-out. This was unique; 3 people?! You can't do that. But Leone did, and he did it brilliantly - all cameras and music. I have now seen this film too many times to count but I'll be back for another blast of buono, brutto, cattivo, someday. My son owes his name to this film. Yep, that there is Clinton.
1998-12-09
The world is not black and white
Ok- first, as mentioned in another review, the geographic/historical errors in this film are GLARING. You've got men carrying revolvers that look like old style cap-and-ball pistols, but they're loading them with metallic cartridges- historically about five years early. Eastwood carries a rifle that hasn't been invented yet, Tuco assembles a "superpistol" out of a Colt, a Remington, and a Smith and Wesson- impossible. And there was nothing of merit taking place between the North and South during the Civil War in the Southwest. Now, that aside, I must say that this is the Greatest western ever. I first saw this film when I was about ten. I'd never sat through an entire Western befor, even though my Dad watched them constantly. Since then, I've been through film school, watched hundreds of Westerns, learned to appreciate them- but NOTHING matches up to this. The Searchers, Stagecoach, Gunfight at the O.K. Corral, The Gunfighter, High Noon, Shane- all great films, but saddled with the standard American Western morality- the good guy never takes liberties with the eastern schoolmarm, the bad guy wears a black hat, etc. Coming from Italy, TG,TB &TU isn't bound by these conventions. Blondie's the "good guy"- but he's also a bounty hunter. He makes a living in a highly immoral way, but is obviously the "good"- not because we're told, but from small acts- giving the dying soldier a cigar, making sure the Captain knows to hold on till he hears the bridge blow, the genuine regret he feel for having to let Shorty die. And while Angel Eyes may be the Bad, we at least know he has prinicpals- when he's hired for a job, he always sees the job through. And Tuco may be more immoral than the other two, but he's so savvy and his role so humorous that one can't bring oneself to look upon him disfavorably. In other words, historical inaccuracies aside, TG, TB, & TU maybe one of the most accurate portrayals of the West ever put on film- there are no clear-cut lines of conduct, no black and white, or even grey, but just a swirled palette of various facets of the human condition.
1999-05-28
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