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The Good, the Bad and the Ugly (Il buono, il brutto, il cattivo)

Movie · 1966 · 15 people

Sergio Leone directed The Good, the Bad and the Ugly (Il buono, il brutto, il cattivo), an epic Italian spaghetti Western from 1966. It closes the Dollars Trilogy begun with A Fistful of Dollars (1964) and For a Few Dollars More (1965); the films are linked by theme and style, not plot. A co-production of Italy, Spain and Germany, it opened in Italy on December 23, 1966, and in Turkey on January 13, 1969. It is now ranked among the most influential Westerns ever made.

Set amid the chaos of the American Civil War, the story follows three gunslingers hunting a buried cache of Confederate gold. Clint Eastwood plays "the Good", Lee Van Cleef "the Bad" and Eli Wallach "the Ugly". Shifting alliances and betrayals drive the plot. Critics singled out Wallach's bandit Tuco for the warmest praise.

Luciano Vincenzoni, Leone, Age and Scarpelli wrote the screenplay. Its look rests on wide shots paired with extreme close-ups and Tonino Delli Colli's Techniscope photography. Ennio Morricone composed the score, whose coyote-howl main theme is among cinema's most recognisable. Shooting took place mostly in Spain, in the Tabernas Desert of Almería and at the purpose-built Sad Hill Cemetery. Reviews were mixed on release, but later re-evaluation brought a cult following.

DirectorSergio Leone
Production companyConstantin Film

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Cast

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Benito Stefanelli Actor · died at 71 Aldo Sambrell Aldo Sambrell Film actor · died at 79 Clint Eastwood Lee Van Cleef Eli Wallach Mario Brega Aldo Giuffrè Luigi Pistilli Antonio Casale Rada Rassimov Maurizio Arena Antonio Molino Rojo Enzo Petito John Bartha Al Mulock

Through different eyes

Action & Thriller Fan Puts pace, tension and set pieces first; little patience for slow drama.

One of the first films that comes to mind when you say Western, and the tension between its three gunslingers is, in my book, still unmatched. The constantly shifting alliances keep you guessing who will betray whom. But to be honest, Leone is in no hurry. Long stares, silent waits and wide shots demand patience, and anyone expecting fast-cut action may struggle. Stick with it, though, and it pays off handsomely.

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

Leone's style reaches its purest form here: setting wide desert shots against extreme close-ups that go right down to the eyes makes the Western's landscape both epic and intensely personal. Tonino Delli Colli's Techniscope photography and Morricone's coyote-howl theme build a structure in which image and music work in almost choreographed unison. Critics were right to single out Wallach's Tuco; much of the film's human, chaotic energy comes from him, balancing the coolness of the other two. Its mixed reception on release may seem surprising today, yet the length of its scenes and its episodic progress make those early reservations understandable.

Family Viewer Asks whether the whole household can watch it; cares about humour and heart.

A legendary film, but think twice before watching it with children. The gunslingers' story unfolds amid betrayals and the chaos of a war, and violence is an inseparable part of it. For high-school teenagers and adults it can be a great shared pick, and the music stays with everyone anyway. For young children, though, I'd say it is both too long and too harsh.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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