The Good, the Bad and the Ugly

You see, in this world, there are two kinds of people, my friend. Those with loaded guns and those who dig. So dig. Three gunslingers, one treasure and maybe the best western that I’ve ever seen. This time it’s the ugly Eli Wallach, who accidentally gets involved with the American Civil War, who holds the story together. Lee Van Cleef’s Angel Eyes stands a little aside from the main story line, but he makes up for it with almost textbook villainy. And there’s Blondie Clint who, with Leone, thought up the climax to this dollar trilogy. Including the surreptitious return of the scruffy poncho to the game and the breathtaking three-way duel in the finale. (09/09/2009)

An absolute pinnacle of filmmaking. And probably one of the works that had the biggest influence on me early on in my film development. I remember back then being hypnotized by the overlong images, the minimalist dialogue, the stylistic mannerisms on the small TV at my parents' cottage. I for the most part didn't know much about what any scene was about until now, and it didn't matter at all. Even a few minutes after watching it, the film feels a bit like a dream. Leone wasn't just rewriting western canons, he was writing general formal laws of the genre that are still in use to this day. And not just in film, but in comics and video games as well. The work with character attributes (Eastwood's casual attitude compared to Wallach's neurotic approach, Tuco's signature custom gun), the purely superficial building of iconic shots (the gunslingers slowly disappearing into the dust after the explosion), the naturalistic cynicism ("Sorry Shorty. "), or, for example, the seemingly pointless battle sequence, which in its perfectionist handling of extras and set pieces faithfully recalls wartime illustrations of the American Civil War. Superficial Mannerist cinematography at its finest. Coppola's attention to detail, Tarkovsky's patience, a pulp story. Plus some purely music video passages, of which this is the leader, quite understandably. (10/07/2021)

I don't feel competent to claim that The Good, the Bad and the Ugly is the best film of its genre. I haven't seen that many westerns and, to be honest, modern anti-westerns like Dead Man or Dances with Wolves resonate with me more. Nevertheless, it is definitely a very entertaining and high-quality film. I don't really care for the western genre, and I have given five stars only to the absolute minimum of these films. The reason for the popularity of this film lies in the fact that Leone managed to make a film that appeals to everyone, which is rather rare in cinema. It is adventurous, thrilling, and very clever, as well as conveying an obvious anti-war message. It combines classic genre conventions with modern filmmaking elements, a traditionally excellent soundtrack, camera tricks, and occasional ventures into purely artistic waters. In certain moments, the film forgets itself and succumbs to genre clichés, such as the shootout with the Tuco's gang, where we see a traditional scene from B-movie westerns, where the hidden rifle shooter misses the gunslinger who shoots him from an unfavorable position with a quick draw. However, due to the overall lighthearted atmosphere, these few minor missteps easily fade away. Leone adeptly alternates the pace, combining genuinely humorous scenes with tragic ones, and, above all, relies on top-notch casting. The director always managed to choose actors who perfectly suited their roles, whether it was Clint Eastwood, Lee Van Cleef, or Eli Wallach. Overall impression: 90%. (25/03/2010)

Leone's typically boundless western genius is imbued with a unique composition of shots, a phenomenal soundtrack and completely filigree work with dynamics and tension, which culminates in the final triple duel. The Good, the Bad and the Ugly has all the essential features of a spaghetti western, including the occasional drag and epic breadth that borders on madness. But this gold digger road movie also enchants through its slow pace, with the gourmet care through which it clings to detail, and the delicate mosaic. In my opinion, one of the best directed and set-to-music films of all time. A magical affair. (04/06/2007)

I don't know how Leone did it. 160 minutes, each of which could be individually extracted and inserted into a scholarly film encyclopedia explaining the importance of working with mise-en-scène and narrative with a minimum of dialogue, exclusively in symbiosis with the soundtrack, the setting and the characters, who can be expected to do anything and who know things that are supposed to remain hidden from the patient viewer for a long time. Brilliant, stunning perfectionist direction, maintaining sustained tension regardless of the current nature of the scene, thanks in large part to its cold-blooded approach to its "heroes", memorable interactions between the central trio, and of course Morricone's music, as legendary and atmospheric as the film itself. There's no need to dwell on the actors, because it's hard to find anything more iconic – Wallach in particular does something incredible. If you love film and try to read it, as they say, this one must be something of an idol for you. (18/04/2011)