Angel Eyes | Villains Wiki | Fandom powered by Wikia But you know, the pity is when I'm paid, I always follow my job through. „ ~ Angel Eyes Angel Eyes (Sentenza in the original Italian version), also known as "The Bad", is the primary antagonist in Sergio Leone's legendary 1966 western movie Il buono, il brutto, il cattivo (The Good, the Bad and the Ugly). He is a cruel assassin who crosses path with the other two titular characters, all looking for a stash of Confederate Gold. He was portrayed by Lee Van Cleef, and has become one of the most iconic bad guys in film history. History Angel Eyes is a ruthless and cunning killer, who has been hired to get clues on the whereabouts of a man called Jackson, finding out he has changed his name to Bill Carson and is gone missing. Upon being told that a fortune in cash is in the middle of this thing, he kills Carson's former associate and his own employer and goes on a search by himself. After learning that Carson is with the Confederacy, he gets a job as a Sergeant at a Union prison camp in case the man is captured.

When Blondie (The Good) and Tuco (The Ugly) fall in this camp, he deduces that Carson is dead and that Tuco was one of the last people to see him alive. He gets one of his henchmen to brutally beat Tuco in order to find out about the money, which works, as he reveals the name of the cemetery it's buried at. Angel Eyes then recruits Blondie as a member of his gang, since he knows the specific grave where the treasure is, and offers him a 50/50 deal. In the meantime, Tuco has been put on a train which is headed to a far town where he is to be hanged, but he manages to escape and kill his guard (thus getting revenge for the beating, too). Blondie eventually breaks free from Angel Eyes' custody and reunites with Tuco, reaching the cemetery after spending a day and a night at a Union fort. While they are looking for the money, Angel Eyes suddenly shows up for the final duel.

Ironically, of the three main characters, Angel Eyes is the one who (explicitly) kills less people throughout the film; yet he clearly is the most vicious, as he takes a certain joy in killing and has the cold blood to joke with Tuco during the latter's torture and interrogatory. Trivia The Good, the Bad and the Ugly (1966) - Plot Summary - IMDb The Good, the Bad and the Ugly (1966) Plot Summary Showing all 6 plot summaries 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 lead him to it. Now The Good, The Bad and The Ugly must all battle it out to get their hands on $200,000 worth of gold. - Written by Jeremy Thomson During the American Civil War, three men set off to find $200,000 in buried gold coins. Tuco and Blondie have known each other for some time now having used the reward on Tuco's head as a way of earning money. They come across a dying man, Bill Carson, who tells them of a treasure in gold coins.

By chance, he tells Tuco the name of the cemetery and tells Blondie the name of the grave where the gold is buried. Now rivals, the two men have good reason to keep each other alive. The third man, Angel Eyes, hears of the gold stash from someone he's been hired to kill. All he knows is to look for for someone named Bill Carson. The three ultimately meet in a showdown that takes place amid a major battle between Confederate and Union forces. - Written by garykmcd Set during the Civil War, three men search for a fortune in gold. One of these men is Angel Eyes, a cold blooded hired killer who was hired by a man to locate his partner who vanished with the gold but he doesn't tell Angel Eyes why he wants him. But Angel Eyes finds out while looking for the man and tells the man who hired him what he found out. But he kills him so he can get the gold himself. The other two men are Tuco and a guy he calls Blondie. Tuco is a bandit. Blondie captures him and turns him in for the reward. But when Tuco is about to be hung, Blondie saves him and they go off and do it somewhere else.

After their latest attempt, Bloncie tells Tuco they've taken it as far as they can. He leaves Tuco and doesn't give him his share. Tuco tracks him down and makes walk across the desert. Later they come across a stagecoach filled with men who are dead wearing Confederate uniforms, Tuco finds a man dying who just happens to be the man Angel Eyes is looking for. He tells Tuco about the gold but before he could tell Tuco where it is he passes out. So Tuco goes to get some water but when he comes back, the man is dead. But Blondie is there and Tuco thinks the man told him where the gold is. So he nurses him back to health. They put on the uniforms and take the stagecoach. They come across some soldiers who they thought were Confederate but were actually Union so they take them prisoner and bring them to the Fort. Angel Eyes is there, an officer. When he learns Tuco took the identity of the man is looking for, he assumes he knows about the gold. So he talks to Tuco and he "gets" him to tell him about the gold but Blondie is the one who knows where it is.

So he brings Blondie to him but he's not intimidated. So he agrees to take him to where the gold is. So the three of them head off to get the gold. But can they trust each other. - Written by rcs0411@yahoo.com Three different men of three different tempers and tastes get involved in a long and full-of-adventure battle in order to find a fortune in gold. While the first man who is an ex-bounty hunter and a forgiving person knows the name of the cemetery which the gold is buried in, the second who is a fast-tempered greedy man knows the name on the grave. But the third person, a cruel cold-blooded murderer, knows none; so he has to reach the gold in his own way of finding something. - Written by J. S. Golden A $200,000 shipment of Confederate gold is ambushed by Yankees in the Southwest making it open season for huge news for every grifter, bad guy and bounty hunter in the area. Blondie, Angel Eyes and Tuco are Good, Bad and Ugly, respectively. Each one of the three has a key portion of the puzzle leading to the location of the gold.

But, none of them ever learned to share. - Written by LA-Lawyer A bounty hunting scam joins two men in an uneasy alliance against a third in a race to find a fortune in gold buried in a remote cemetery. The Good, the Bad and the Ugly (1966) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The Good, the Bad and the Ugly ( 1966 ) Il buono, il brutto, il cattivo (original title) Approved | From $2.99 (SD) on Amazon Video ON TV ON DISC ALL A bounty hunting scam joins two men in an uneasy alliance against a third in a race to find a fortune in gold buried in a remote cemetery. Director: Famous Directors: From Sundance to Prominence From Christopher Nolan to Quentin Tarantino and every Coen brother in between, many of today's most popular directors got their start at the Sundance Film Festival . Here's a list of some of the biggest names to go from Sundance to Hollywood prominence.

a list of 25 titles created 27 Aug 2011 a list of 39 titles created 12 Sep 2011 a list of 28 titles created 03 Nov 2013 a list of 40 titles created 22 May 2014 a list of 30 titles created 19 Nov 2014 Title: The Good, the Bad and the Ugly (1966) 8.9/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 1 win & 1 nomination. See more awards » Videos Two bounty hunters with the same intentions team up to track down a Western outlaw. Director: Sergio Leone A mysterious stranger with a harmonica joins forces with a notorious desperado to protect a beautiful widow from a ruthless assassin working for the railroad. Director: Sergio Leone The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on the family crime syndicate.

Director: Francis Ford Coppola A criminal pleads insanity after getting into trouble again and once in the mental institution rebels against the oppressive nurse and rallies up the scared patients. Director: Milos Forman A wandering gunfighter plays two rival families against each other in a town torn apart by greed, pride, and revenge. Director: Sergio Leone The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son. Director: Francis Ford Coppola The lives of two mob hit men, a boxer, a gangster's wife, and a pair of diner bandits intertwine in four tales of violence and redemption. Director: Quentin Tarantino Henry Hill and his friends work their way up through the mob hierarchy. Director: Martin Scorsese In German-occupied Poland during World War II, Oskar Schindler gradually becomes concerned for his Jewish workforce after witnessing their persecution by the Nazi Germans. Director: Steven Spielberg A jury holdout attempts to prevent a miscarriage of justice by forcing his colleagues to reconsider the evidence.

Director: Sidney Lumet An insomniac office worker, looking for a way to change his life, crosses paths with a devil-may-care soap maker, forming an underground fight club that evolves into something much, much more. Director: David Fincher Forrest Gump, while not intelligent, has accidentally been present at many historic moments, but his true love, Jenny Curran, eludes him. Director: Robert Zemeckis Edit 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 ... Written by Jeremy Thomson They formed an alliance of hate to steal a fortune in dead man's gold. See more » Genres: 29 December 1967 (USA) See more » Also Known As: The Good, the Bad and the Ugly See more » Filming Locations: Did You Know? Trivia According to Sergio Leone , it took a lot of discussion before Clint Eastwood agreed to do the movie because he felt his character would be upstaged by Tuco, even before the part was cast. He said, "In the first movie I was just about alone. In the second, there were two of us, and now three. If it goes on like this I'm going to end up with a whole cavalry". See more » Goofs All of the railroad cars seen are four-wheeled.

This design had fallen out of favor in the United States by the 1850s. See more » Quotes Stevens : You're... from Baker? [Angel Eyes is silent, eating a bowl of stew and staring at him] Stevens : Tell Baker that I told him all that I know already and I want to live in peace, understand? That it's no use to go on tormenting me! I know nothing at all about that case of coins. [Angel Eyes stops eating and looks interested] Stevens : Now that gold has disappeared, but if he'd listened we could have avoided this altogether. I went to the Army court; there were no witnesses. They couldn't uncover any more.... (Philadelphia) – See all my reviews After many years of barely watching any movies, I treated myself to several classics recently. And this was the best. That I so enjoyed this movie so much came as a shock to me. I literally never before have been able to even sit through a western, which (in my admittedly limited experience) was schlock action starring John Wayne as the taciturn all-American good guy being tough and beating up the outlaws. Watching GBU, I was enthralled for the entire three hours. Twice.

And if I had time, I would have watched it a third time. The setting is typically western: a dry, dusty panorama in which men barely co-exist with each other; few wasted words; and lots of action, horses, and gunfighting in a wild west barely governed by incipient institutions of law & order  all shrouded within a morality play of good vs. bad. But what I liked so much is exactly what I hate about John Wayne westerns  the seriousness and honesty with which moral context is considered. In Hollywood, good vs. bad is as thoughtlessly superscripted as the protagonists' white and black hats. In GBU every remnant of moralizing has been ruthlessly cut. Good, Bad, and Ugly are personified in the form of three characters: Bad ("Sentenza") is the easiest to understand. He is *very* bad, perhaps not so different from other villains, but much more sharply developed; murderous, sadistic, traitorous, and remorseless. Good ("Blondie") and Ugly ("Tuco") are more puzzling, but their labels are the key to the movie.

Both Blondie and Tuco are outlaws and killers with only the barest hint of morality, but they're not evil in the same way that Sentenza is. Tuco is demonstrative, emotional, loud, wild, and unpredictable; but driven by survival rather than satanic urges. Blondie is cool, calm, rational and controlled  in many ways similar to Sentenza  but whereas Sentenza tortures, maims, kills, and lies for the hell of it, even apparently enjoys it, Blondie simply goes about his business coolly, and shows several poignant hints of empathy, decency, and a sense of justice. GBU takes place during the Civil War and strips away the high-level political struggle of history books, leaving us with the soldier's vantage point of brutality, pointless death, and some individual decency. The politics are indecipherable from this vantage point. GBU hits this point home when our protagonists wind up in a prison camp because the oncoming gray cavalry uniforms turn out to be dust-covered blue. Later, they encounter an army fighting over a worthless bridge, suffering countless pointless deaths and casualties.

Because Leone has so rigorously excised traditional off-the-shelf morality, the few instances of humanity are remarkably poignant. One such instance is when Blondie shares his coat and cigar with a dying soldier; another is when prisoners are forced  by Sentenza's orders  to play music to cover up the screams of the tortured. Sentenza apparently enjoyed the irony of beautiful sounds used for such ends; the musicians are, of course, pained by it. That was one of many extraordinarily striking scenes. The honesty of the moral context was what I liked best about the film, but I liked everything else too. Indeed the same primal, ruthless honesty that characterizes the character development pervades the film. The music is unlike anything I'd ever heard  it's an audible version of the arid west and the tensions and lawlessness that characterize the film. Underlying the entire score is one instantly memorable theme starting off with what sounds like a screaming hyena. The story took place in New Mexico, and even though it was filmed in Spain, it really does look like New Mexico; and just as in life in the American west, the wide, breathtaking panorama tends to subordinates dialog.

Indeed, it is several minutes into the film before even one word is spoken. The plot was extremely clever  and never predictable. High level suspense is maintained for the full three hours. It was hard to imagine how it could unfold  three uncompromising outlaws in search of one buried treasure; cooperation was not in their nature, but nothing was ever done out of character. Any Western cliché that you can think of is either given a unique twist or destroyed by masterful storytelling. For example there is an utterly irreverent scene in which Tuco meets his brother, a sincere Priest, and turns platitudes upside down. The brother begins with the standard rebuke of the criminal's behavior, but Tuco punches back and says, "Where we come from there were only two ways out. You lacked the courage to do what I've done." The movie is also irreverently funny: For example, Twice Tuco gained the upper hand on Blondie and said: "There are two kinds of spurs(?), my friend. Those that come in by the door, and (crosses himself) those that come in by the window." "There are two kinds of people in the world, my friend.

Those who have a rope around their neck and those who have the job of cutting." Later Blondie gained the advantage of Tuco and observed: "You see in this world there's two kinds of people my friend - those with loaded guns, and those who dig. You dig." In addition to all these specific attributes, a unique and strikingly cool style infuses the entire film: long scenes of tense silences  never for an instant boring; and telling, startling close-ups and transitions. Most noteworthy was the film's climax. As the protagonists stand there with their fingers on their holsters, waiting for the first person to go for their gun(s), the transitions start out slowly, and speed up as the tension increases. As I write this, I wish I had my own copy of the film, just so I could see this scene again. Not just a great western, but easily one of the best movies of *any* kind ever made. 38 of 40 people found this review helpful. Was this review helpful to you?

Yes The Good, the Bad and the Ugly (1966) | Once Upon a Time in a Western Home » Spaghetti Westerns » The Good, the Bad and the Ugly (1966) The Good, the Bad and the Ugly (1966) Posted by Mark Franklin on Jul 30, 2015 Clint Eastwood is Blondie, Eli Wallach is Tuco and Lee Van Cleef is Angel Eyes, three men who wind up in search of the same thing, a fortune in stolen money buried somewhere during the Civil War. Angel Eyes is the bad in the title, a man who kills for money. In this case, he’s been hired by an ex-Confederate named Baker to squeeze information about a former partner named Jackson from a Mexican peon. Before dying, the Mexican tells Angel Eyes that Jackson is now using the name Bill Carson. And he tells of the lost case of gold. The latter is news to Angel Eyes, who decides to kill Baker and launch a search for the gold himself. Tuco is the ugly in the title, a small-time bandit with a list of crimes large enough to have a $2,000 price tag on his head.

He’s repeatedly caught, turned in for the bounty, sentenced to hang, then shot down from the rope in the nick of time by Blondie, the good in the title. The more often Tuco escapes, the higher the reward climbs. Then Blondie decides to dissolve the partnership, leaving Tuco to fend for himself in the desert. It’s a favor Tuco won’t forget. But as he’s getting his revenge, marching Blondie through a desert with no water, the two come across a Confederate ambulance. A man inside begs for water. He identifies himself as Bill Carson. He’ll provide information on where to find $200,000 to the man who gives him a drink. Tuco winds up with the name of the cemetery where the gold is buried. While he’s fetching water, Blondie gets the name on the grave marker where they can find it. Now they need each other, and the stake is much higher than $2,000. Of course, there’s still Angel Eyes to deal with. Not to mention the Civil War that is raging all around them. Review: This is the third and best of Sergio Leone’s Man with No Name or Dollars trilogy.

At least that’s how it’s known, though Clint Eastwood’s character does have a name, albeit sometimes seldom used, in all three films and there’s nothing about dollars in the title of this film. That matters little. This is indisputably one of the most ambitious and most entertaining of the hundreds of Spaghetti Westerns churned out from the mid-1960s through the 1970s, perhaps surpassed only by Leone’s own “Once Upon a Time in the West.” Van Cleef and Eastwood return from “For a Few Dollars More,” this time partners for the briefest of periods as Blondie seems to have more of an allegiance with Tuco. That said, none of the three men are particularly “good,” or particularly trustworthy. Any alliance the men form has selfish motive. In fact, over the course of the film, the “good” Blondie wracks up the highest dead body count of all three men. The trip to Sad Hill Cemetery takes us through war-torn towns, to a prisoner-of-war camp, to a monastery and through a seemingly pointless (but filmed on a grand scale) Civil War battle over a bridge of little importance that’s costing thousands of lives.

And it all ends in a wonderfully staged three-man showdown in the middle of that cemetery, with the name of the grave where the money is buried written on a rock, presumably the prize for the one man who survives. Oh, yeah, and Ennio Morricone provides another brilliant score, including the well-known theme song, which became a Top 10 hit in the U.S. Directed by: Lee Van Cleef … Angel Eyes Aldo Giuffre … Union captain Luigi Pistilli … Father Pablo Ramirez Enzo Petito … Storekeeper Antonio Casale … Jackson / Bill Carson Mario Brega … Wallace Antonio Molino Rojo … Capt.

Harper Jose Terron … “Shorty” Larson Clint Eastwood as Blondie in The Good, the Bad and the Ugly (1966) Lee Van Cleef as Angle Eyes in The Good, the Bad and the Ugly (1966) Eli Wallach as Tuco in The Good, the Bad and the Ugly (1966) Adlo Giuffre as the Union captain in The Good, the Bad and the Ugly (1966) Luigi Pistilli as Father Pablo Ramirez in The Good, the Bad and the Ugly (1966) Mario Brega as Wallace in The Good, the Bad and the Ugly (1966) Antonio Casale as Bill Carson in The Good, the Bad and the Ugly (1966) Antonio Molino Rojo as Capt.

Harper, prison camp commander in The Good, the Bad and the Ugly (1966) Rada Rassimov as Maria in The Good, the Bad and the Ugly (1966) Half Soldier in The Good, the Bad and the Ugly (1966) Enzo Petito as the storekeeper in The Good, the Bad and the Ugly (1966) Antonio Casas as Stevens in The Good, the Bad and the Ugly (1966) Clint Eastwood as Blondie in The Good, the Bad and the Ugly (1966) Lee Van Cleef as Angel Eyes in The Good, the Bad and the Ugly (1966) Eli Wallach as Tuco in The Good, the Bad and the Ugly (1966) Memorable lines: Angel Eyes: “When I start off to find someone, I find them. That’s why they pay me.” Angel Eyes: “You know the pity is, when I’m paid, I always follow the job through.” Tuco: “There are two kinds of people in the world, my friend.

Those with a rope around their neck and the people who have the job of doing the cutting. Listen, the neck at the end of the rope is mine. I run the risks. So the next time, I want more than half.” Blondie: “You may run the risks, my friend, but I do the cutting. We cut down my percentage — liable to interfere with my aim.” Angel Eyes, watching Tuco with his neck in a noose: “People with ropes around their necks don’t aways hang.” Stage passenger: “What do you mean?” Angel Eyes: “Even a filthy beggar like that has got a protecting angel.” Tuco: “You never had a rope around your neck. Well, I’m going to tell you something. When that rope starts to pull tight, you can feel the devil bite your ass.” Blondie, riding off as he leaves Tuco alone in the desert, shouting obscenities: “Such ingratitude, after all the times I’ve saved your life.” Tuco to a recuperating Blondie: “Come on, come on. The party’s over. The wagon is all ready to go.

The way the wounded are pouring into this place, we’d better get the hell out of this place, before we get caught up in the war.” Tuco to Wallace: “I like big fat men like you. When they fall, they make a bigger noise. And sometimes they never get up.” Tuco, after gunning down a one-armed bounty hunter: “When you have to shoot – shoot. Don’t talk.” Blondie to Tuco, after Tuco has climbed out of a bathtub to greet a man at his hotel room door, gun drawn: “Put your drawers on and take your gun off.” Blondie to Tuco: “You see, in this world, there are two kinds of people: Those with loaded guns and those who dig. You dig.” Trivia: The Spanish Army assisted with the filming of the Civil War battle scene and with the construction of the bridge it is fought over. A captain in that army was given the privilege of lighting the fuse to blow up the bridge. But he lit the fuse too early, before any cameras were rolling. The army rebuilt the bridge free of charge for a second ka-boom. A restored version of the film includes several scenes that were never dubbed into English.

For that version, Eastwood and Wallach returned to dub their lines; Van Cleef had died by that point. His lines were dubbed by Simon Prescott. In a DVD extras interview, Wallach describes some rather frightening moments on set. In one of the hanging scenes, gunfire spooked the horse he was on. It went galloping off with him on its back, a noose around his neck and his hands tied behind his back. And, near the end of the film, there’s a scene where Tuco whacks a bag of gold coins with a shovel and it splits open. To make sure the bag would open easily, the film crew treated it with acid. The acid was stored in a soda bottle, and Wallach accidentally took a swig. In the theatrical trailer, Angel Eyes is the “ugly” and Tuco is the “bad. That’s because the Italian name of the movie translates into “The Good, the Ugly and the Bad.” Charles Bronson, who would appear in Leone’s next film, was reportedly offered the roles of Angel Eyes and Tuco.

The Good, the Bad and the Ugly (1966) YIFY - Download Movie TORRENT - YTS The Good, the Bad and the Ugly 1966 The Good, the Bad and the Ugly 1966 Loading, please wait Synopsis 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 ... 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 ... Parental Guide January 15, 2013 at 08:19 PM Director Mario Brega as Cpl. Wallace Tech specs Reviewed by Sam Haines 10 / 10 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. Reviewed by Dolf 10 / 10 The good, the better, the best. This is without a doubt my all-time favorite western. The beginning of the film is so memorable, with the young, rough good-looks of Eastwood being labeled "The Good", the absolutely evil look of Lee Van Cleef being labeled "The Bad", and a dirty, unkempt, desperado Eli Wallach with booze and food flying being labeled "The Ugly". The ending fight scene with its 3-way showdown is one of the most memorable pieces of film I have ever watched. Leone did a great job with the camera direction in this movie and the acting is impressive. Eastwood, Van Cleef, and Wallach are absolutely fantastic.

The only thing that might scare some viewers off is the length of the film. It is long, but you just don't seem to notice it when you are watching the film - you are just too damn busy watching the best classic western of all time. Do yourself a favor and rent this movie if you haven't seen it. If there was ever a perfect western, this is it. Reviewed by MadReviewer 10 / 10 Brutal, brilliant, and one of the best Westerns ever made A sprawling Western epic that follows the adventures of three gunfighters looking for $200,000 in stolen gold, Sergio Leone's `The Good, the Bad, and the Ugly' is a masterpiece, one that continues to get better and better with each viewing. In a way, it's a morality play, weighing the consequences of good and evil, but it does so in a realistic manner. Sometimes, crime does pay, at least in the short term, and sometimes good does go unrewarded. This film probably signaled the death knell of the traditional John Wayne `White Hat/Black Hat' Western. The three main characters make the film. Lee Van Cleef (`The Bad') is evil personified.

Totally ruthless, he'll do whatever it takes to get what he wants. Clint Eastwood (`The Good') is the Man With No Name, not really `good' in a traditional sense . . . but he has a certain sense of honor and tries to do the right thing. (Watch the scene when he gives a dying Confederate soldier a puff of his cigar - powerful, and it sums up everything that the Man With No Name is all about, without saying a single word.) Eli Wallach (`The Ugly') is Tuco, and he's easily the most complex - if not the best - character in the film. All impulse and rage, Tuco spins wildly throughout the movie, stealing, lying, pretending to be Clint Eastwood's best friend in one scene, trying to kill him in another - Tuco truly represents `the ugly' side of people. The movie is long, but there's not a wasted scene in the film. Each one slowly lets the film unfold with a certain style and grace, revealing more about each character and what's going on. The pacing is incredible, as is the direction - Sergio Leone manages to build a lot of uncomfortable tension in the film, keeping the film from ever getting predictable.

Any typical Western cliche that you can possibly think of is either given a unique twist or utterly destroyed by Leone's masterful storytelling. Of special mention is Ennio Morricone's score, which is absolutely perfect. Two scenes - one in a Union prison camp, one in the climatic gunfight in the cemetery at the end of the film - are amazing on their own, but they become absolutely astonishing with combined with Morricone's powerful score. This movie is absolutely brilliant. If you haven't seen it yet, I strongly urge to do so. Immediately. (And then, go watch `Unforgiven' . . . in a way, I think that `Unforgiven' is the sequel to `The Good, the Bad, and the Ugly - it's the story of what eventually happened to the Man With No Name.) `The Good, the Bad, and the Ugly' is easily one of the best Westerns ever made.

A++ The Good, the Bad and the Ugly (1966) | Canadian Cinephile The Good, the Bad and the Ugly (1966) Posted on by Jordan Richardson Sergio Leone jumps into the American West once more with The Good, the Bad and the Ugly, a 1966 spaghetti western that formulates the final pieces of the so-called Dollars Trilogy. Along with A Fistful of Dollars and For a Few Dollars More , The Good, the Bad and the Ugly was responsible for bringing the pairing of Leone and actor Clint Eastwood to international awareness. It’s also an exhilarating compilation of western tropes, with an exploration of innate human greed splashed against a Civil War backdrop. It speaks to the nature of mankind and to the blend of traits within humanity, as the “good,” “bad” and “ugly” parts of this glorious and chaotic species lingers regardless of the disaster raging outside. The mercenary Angel Eyes (Lee Van Cleef) is introduced as “the bad.” He is a mercenary and he’s looking for a stolen cache of Confederate gold after both completing a mission and killing his employer.

The Mexican bandit Tuco (Eli Wallach) is “the ugly.” He and Blondie (Clint Eastwood) work out a scheme to cheat towns out of reward money. Blondie, by the way, is “the good.” When Tuco and Blondie get wind of the aforementioned Confederate gold, their lack of trust in one another comes to bear. But information is in fragments: Tuco knows the graveyard where the gold is located, while Blondie knows the name on the headstone. The two have to work together again, whether they like it or not. And Angel Eyes’ sadistic nature complicates matters. Throughout this search for gold, the Civil War rages. It is, for the lead characters, an inconvenience. This is demonstrated eloquently when Tuco and Blondie come upon Sad Hill and find Confederates and Union troops battling it out over a bridge. The armies are in the way of the cemetery where the gold is, so a rather explosive solution is necessary. Leone structures this sequence wonderfully, showcasing the raging battle through the rather distant perspectives of Tuco and Blondie.

They sit on the hill as observers before kicking an injured soldier off a stretcher and transporting their clearly-marked explosives through the battle and to the bridge. All the while, soldiers are toppling around them. In Leone’s western, history is mere backdrop. It’s never the main event. The characters, even the “good” ones, are self-interested. Leone and cinematographer Tonino Delli Colli reveals this through a series of gorgeous close-ups and wide shots, encapsulating the internal and external worlds of deserts and towns tossed in twain by enduring ruthlessness. At times, the better angels shine through. Tuco meets his brother Pablo (Luigi Pistilli) at a frontier mission and they discuss how their lives diverged. Tuco went on to become a bandit, while Pablo became a Catholic friar. The proud Tuco believes his brother looks down on him, but he suggests it took courage to follow his path. For all the good in the world, darkness overwhelms it. The vicious Corporal Wallace (Mario Brega) pounds on Tuco as prisoners perform a haunting reverie. The torture, the audience is told, goes on as long as the song.

Wallace is at the behest of Angel Eyes, who has the sick decorum to feed his victim first. And the prisoners are acquainted, flinching as they play the song through to its end. Ennio Morricone’s iconic score is arranged to fortify this notion of darkness in the hearts of men. It tinkers around the perimeter for most of the picture, settled in a series of bleats and howls. It never really reaches full orchestral swell until the beautiful and exultant “The Ecstasy of Gold” commences and sends Tuco running through the graveyard. And of course, the nature of man meets in the middle for the closing shootout. This is splendidly arranged, with Morricone and Delli Colli managing to put all three men in the frame to indicate the inseparability of goodness from badness from ugliness. They are inherently linked by gold-leaf, by the affecting plummet into the dirt of the grave. With The Good, the Bad and the Ugly, Leone concludes his Dollars Trilogy with a bang. This is a ferocious and beautiful tale, one that exemplifies the contemptuous keystones of the spaghetti western and one that engages in necessary truth-telling.

Best of all, it’s a vastly entertaining three hours and a shining example of pure cinema at work. Trailer: Guide to the Good, the Bad, and the Ugly Film Editors: Nino Baragli, Eugenio Alabiso Produced by Alberto Grimaldi, Carlo Bartloini (assistant), Federico Tofi (assistant) for United Artists/ PEA Plot Summary The plot summary for The Good, the Bad, and the Ugly is fairly simple. It's a basic western story of greed and what people are willing to do to get money. Three men know where some gold is hidden. Tuco knows what cemetery it's in, Blondie knows which grave, and Angel Eyes knows about it. Due to greed, Tuco and Blondie stick together, until Angel Eyes captures them. They escape from Angel Eyes in a classic gunbattle, and after some other setbacks, end up in the graveyard. Tuco thought he knew which grave the treasure was hidden in, but Blondie had lied to him when he asked where it was. So Tuco dashes off to the graveyard, Blondie close behind. Then Angel Eyes shows up and makes the other two dig in the wrong grave.

Blondie manages to get the upper hand, and kills Angel Eyes (who had caught up to them). They get the gold, but Blondie again gets the upper hand and leaves Tuco with his share of the gold, but no means to carry it out of the graveyard. Reviews Renata Adler, a New York Times film critic, did not think very highly of the film. In January of 1968 (two years after the film was made) it finally came to New York. She believed the film's title should have been "The Burn, the Gouge, and the Mangle", because all of the characters were repulsive to her. For some reason, she also insisted on calling Clint Eastwood's character "Joe" even though he is given the name "Blondie" by Tuco. Unfortunately, she completely misunderstood the film. Perhaps she was expecting something clean and neat, like the typical Hollywood westerns at that time. The reader certainly gets the feeling that she had never seen the other two films, A Fistful of Dollars and A Few Dollars More. She would not have liked them, perhaps, but it would have been no surprise that the film was going to be violent.

All she comments on is the violence of the film and the ugliness of the people. She failed to see that the director was making a point with the violence, that he was saying that life is violent. "There is scarcely a moment's respite from the pain" she says in aggravation, not thinking about the environment of the film, or the fact that there is a war going on in the background. She also comments on one of Leone's trademarks in his films: food. People always eat well in his films. Adler naturally takes a negative view: "...the movie takes place in arid country, there are an awful lot of salads and vegetables". Maybe this is a good point, but did that really matter to the rest of the film? Of the acting and technical aspects, she has very little to say. Adler does not mention Clint Eastwood at all, and was not impressed with Eli Wallach or Lee Van Cleef. She claimed that Van Cleef's acting consisted of "displaying the stubble of his beard and narrowing his eyes," which is ironic, because Eastwood is famous for that now.

Wallach's acting, as she saw it, was done through "hideous gastro-intestinal noises to convey shades of emotion." Personally I saw a bit more character than that. Especially when he talks to his brother, the priest. He managed to convince me that there was something underneath all the obnoxious attitude. This film seems to be better enjoyed by modern viewers, because we have less sensitivity to the violence (and maybe even see it as a tame film by our standards). Renata Adler obviously did not enjoy the film simply because of its allusions to the way humans really are. Background for the Film There is a small amount of interesting trivia for this film. The original title was to be "The Magnificent Rogues," no reason has been given, however, for why the title was changed. The budget was considerably larger for this film: 1.2 million. For A Fistful of Dollars, the budget was the same as the amount of treasure in The Good, the Bad, and the Ugly. It is almost as if Leone was hoping to make at least that much money back for the film. Charles Bronson was originally supposed to play Tuco, but he was already committed to The Dirty Dozen.

When Bronson was cast in one of Leone's later pictures, Leone wanted him to shoot Wallach, Eastwood, and Van Cleef in the opening scene, just for fun. Eastwood refused, apparently not seeing the humor in the idea. Eastwood came up with the nickname for Sentenza on the set. Since everyone else liked it, it stayed in the picture. He also did all of his own stunts, with a few exceptions. Eastwood likes to do everything because it makes his characters more realistic for the viewers, he believes. He had brought his own stuntman with him to do some of the horse riding scenes for this film. In this particular film, twelve people are killed by Eastwood directly. This is a small number compared to his Dirty Harry films. In most of Eastwood's films someone dies, usually by him directly. At the beginning of Eastwood's film "the Unforgiven" he dedicates it to Leone- perhaps this is the same character near the end of his life? There is only one real obvious mistake made in the film, but it is a rather large anachronism--cartridges were not used in revolvers.

Tuco uses a gun that did not exist in the time that the movie takes place in. Fortunately for the film, not too many people know this as it is a very technical point, so the movie is not ruined because of it. Critical Analysis The Good, the Bad, and the Ugly is actually a really awful film. The plot is slow and ponderous, the Italian actors are not very good (the dubbed voices are especially bad), and there is a lot of senseless violence. But this is why everyone loves this film. It has become a "cult classic," the kind of film where everyone sings along with the awful music and mimics the lines. The film's music score is weird, to say the least. The howling sound that is either a coyote howl or someone getting their fingers smashed in a door has become the cliché for a western gunbattle. Recently I saw it used in a commercial for motor oil. If someone had listened to the score without having seen the movie, they probably would not like it. I remember laughing at it when I first saw the film.

Ennio Morricone's music manages to grow on the viewer, however, because by the time the film is over you cannot get it out of your head. Clint Eastwood's character, "Blondie" as Tuco calls him, is the first of many "man with no name" types that he has played in his series of spaghetti western style films. He is labeled "The Good" in the film, but the best his character could have been called is "The Better Than the Other Two." He is still a criminal, he still shoots people, but he is not shown shooting innocents or robbing anyone. He is greedy, but in a nice way- he still leaves Tuco with his share at the end. He even plays with a kitten before one of the major gunbattles. For some reason the viewer wants to see Blondie win over the other two, perhaps because he seems more intelligent. Lee Van Cleef, or "Angel Eyes" is called "The Bad," and that is just what he is. He is a hired killer ("Once I'm paid, I always see the job through") and an all around mean guy.

He really does not have anything to do with the plot, other than someone to get in the way of Blondie's quest for more money. This actor also made a living off of playing essentially the same character after this film. Eli Wallach, "Tuco" gets the epithet "The Ugly." His is the most appropriate title. He is ugly in personality as well as visually. Ironically he is shown taking a bath and shaving in this film, but he never looks clean. He is the humor in the film, since he is the most obnoxious character. In this film he is the weasel that also gets in the way of Blondie, constantly showing up when it is most inconvenient. If it were not for Tuco's revenge in the dessert, Blondie would never have learned about the gold in the first place. The close-ups in the film that are particularly memorable. They are so memorable that the close-up shot in any Western film after this one makes the viewer think of The Good, the Bad, and the Ugly. The profuse amount of close-ups on faces (especially eyes) to show what the character is thinking- we can get inside his head through their expressions.

The ten minutes of close-ups at the end of the film absolutely must be seen in Letterbox for the full effect, otherwise half of the picture gets lost. Sergio Leone creates huge amounts of tension in that scene, just by quick cutting to each characters faces, eyes, and suddenly pulling back to show all three characters. The music also helps with the tension, building up to the yelping singers at the end when Tuco was swearing at Blondie. The Civil War is the backdrop of the film, getting in the way on occasion. Blondie makes several sage-like comments on the senselessness of the war, and the waste of human life it brings. He helps the officer who wants to see a bridge blown up, but really it only happens because of the money on the other side. Leone shows his opinion on the war by making both sides look the same when they are in the dessert. Overall, this is a fun movie to watch. Personally I think the Spaghetti Westerns are better and more realistic than the goofy John Wayne films that were made at the same time. The costuming is better, the writing is better, and in some cases the acting is better.

It's more fun to watch Clint Eastwood be a "badass" rather than John Wayne being a jerk. Bibliography 1. Adler, Renata. "The Burn, the Gouge, and the Mangle" The New York Times, January 25, 1968. Contemporary film review #1. 2. Dunagan, Clyde Kelly. "Clint Eastwood" in Actors and Actresses, ed. James Vinson. Chicago: St. James Press, 1986, pp. 209-211. This was a useful source. It had not only a filmography, but also a basic biography and a commentary on their works. 3. Kaminsky, Stuart M. "Sergio Leone" in Directors and Filmmakers, ed. Christopher Lyon. Chicago: St. James Press, 1984, pp. 326-327. This was from the same series as the Eastwood article. 4. International Movie Database: The film database I used to get the basics for the movie. Probably the most useful of all of the sources so far.

The only problem with it was that every time I came back to it, someone would add something else to it. 5. Clint Eastwood Page: This source was a good Clint Eastwood site. I used the cast list from here, as it was shorter, and made more sense. 6. Sergio Leone Homepage: I was surprised to find an actual homepage for Leone. I did not think he was popular enough to warrant an entire homepage! I found the Van Cleef page through a link here. 7. Lee Van Cleef Homepage: Van Cleef's homepage was well done, and I found some of the trivia about the movie from here. The Good, the Bad and the Ugly / Headscratchers - TV Tropes WMG During the scene where Blondie and Tuco are watching the Union and Confederacy fight over the contested bridge, they are forced to duck away from incoming mortar fire. They take refuge behind what they quickly discover are crates full of dynamite. Not ten seconds after this revelation a wounded soldier is brought in five feet behind them and a doctor begins prepping for an operation. Uh, doc? Maybe you should move wounded men away from high explosives before trying to save their lives? perhaps a bit too close yes.

To be fair, it's a primitive battlefield triage. They don't exactly have the luxury or picking and choosing where they're going to operate, since they can't move the patients very far very quickly without risking them dying in transit. It's a place behind cover making it difficult for anyone to see (and thus shoot) them, which automatically makes it better than out in the open, so needs must, really. But just remember, dynamite wasn't invented yet, the boxes say explosives and they contain black powder sticks Also, One of the famous stylistic elements of this film is that nothing in its universe exists until Leone puts it in the frame. That convention begins with the opening scene when a empty ghost town is populated by a pan onto a man's face in closeup. The Union pickets didn't exist until they appeared on a previously empty road to capture Tuco and Blondie, who then step off the road and into the massive trenchworks which had not existed only moments before. Things appear when and where they are needed in order to advance the story. Those events create an otherworldly aura for the whole film, and personally I think the technique enhances the willing suspension of disbelief.

How come Blondie hasn't been issued his own "Wanted!" Poster , since he keeps helping Tuco escape? Or Angel Eyes, for that matter - leaving witnesses alive seems as if it would be pretty counterproductive for an assassin. Perhaps Angel Eyes is able to protect himself with his apparently good standing with the military. Blondie is usually off in the distance during hangings, and his partners don't seem to make it out well sometimes, so they couldn't rat him out. As for the both of them, maybe they DO have wanted posters, and we just don't see them. At the end of the movie, they dig up the grave with the name Blondie gave, but it's just a normal coffin with a body in it. He tells them he'll write the real name under a rock. So wait a minute... Why did Angel Eyes and Tuco think that Blondie just happened to know the name of somebody else who was buried at that graveyard, so he could give an accurate fake name? Surely they would have known immediately that he was lying. After all, Blondie didn't even know which graveyard they were headed to.

I don't think Tuco was blessed with the abundance of brains to figure the ploy, so it would make sense that it would never occur to him. As for Angel-Eyes, he was never directly involved when the information was being parsed out, and therefore didn't have all the pieces to the puzzle to figure it out. Maybe. It wasn't just anyone else. Blondie told Tuco the gold was in Arch Stanton's grave. In actuality, the dying soldier had told him it was next to Arch Stanton's grave, in a grave marked unknown. This way, even if Tuco begins digging in the false grave, Blondie would at least know he's in the right graveyard. Related question: What's Blondie supposed to write with, and why would Angel Eyes trust him to write anything at all? As, indeed, he does not. Write with is easy - he just scratches it with another rock. This isn't a plot point, but it is something that has persistently bugged me about the movie. What exactly does it deconstruct about Western black-and-white morality?

To put it in TV Tropes terms, I guess you could call it a subversion, but it doesn't poke any big holes in the genuinely honorable "white hat" hero; it just (as far as I can tell) has an amoral con artist where the hero would normally be while pitting him against even worse enemies. On the other hand, I seem to be in a small minority in not seeing it, so maybe someone can explain what I'm missing. Well, there's a morally ambiguous "hero", an extremely unambiguous villain and a third character who isn't much better than the villain but more likeable than either of the others (and who is arguably the main protagonist). So at least it's more complex than Black and White Morality . Italowesterns in general and the dollars trilogy in detail deconstruct the idea of a unreasonably good and fast gunslinger, which is almost impossible to kill or bring down. A guy that invincible has no one to answer to and can't be made responsible for anything. Therefore he can do whatever he likes, totally ignoring all limitations put on him by law enforcement.

That's the reason why Blondie is "The Good" only through worse antagonists, and why he is short of a full blown sociopath (he shot some men in the beginning of A Handful of Dollars for insulting his mule). Actually he demanded that they apologize (to the mule, so that the mule wouldn't kick their asses), and they stopped laughing and reached for their guns, so he killed them. Wrong, wrong, wrong , he deliberately aggravated a group of men who wouldn't hesitate to shoot him, basically outright stated he was going to kill them before even approaching them ("Get three coffins ready"), and then proceeds to kill them, and all for a offhand comment about his mule. In the corresponding scene in Yojimbo, Sanjuro gets the same effect by approaching a group of hardened killers and telling them they have "gentle faces," and that anger makes them look "even sweeter." This could also be a case of Seinfeld Is Unfunny .

The Good The Bad and the Ugly may not look like a deconstruction compared to say, Unforgiven, but when you compare it to the average American western circa 1966, the conduct of the protagonists looks considerably more morally ambiguous. I see it not only as a deconstruction of westerns but as a deconstruction of the entire film medium itself. In many ways, "gbu" is essentially a minimalist film. It takes everything you would find in a typical movie and reduces it to its bare essentials. The characters are reduced to moral labels, and the plot is basically an excuse to get them to interact until they are finally pit against each other. Even being so simple, it is everything that a great movie should ever hope to be. By deconstructing the entire film medium, it defines the heart of every movie ever made, leaves everything else out, and blows it up to epic proportions with the use of amazing storytelling.

If The Good, The Bad, and The Ugly is meant to be a prequel to A Fistful Of Dollars and For A Few Dollars More — which can be inferred by the Civil War aspect of its story and the Man With No Name not having his famous poncho until the end of the movie — then why does Clint Eastwood's character still do bounty hunting? At the end of the movie Blondi (as Tuco calls him) walks off with 100,000 dollars, which if adjusted for inflation and interest would make him a multimillionaire in today's money, he should have been able to live a fairly easy life after that. He is shown to be an opportunist so I guess that much money wasn't enough for him? Maybe someone set upon him and took the money. Or he could be one of those types of guys who can't live the quiet, easy life; tried it, got restless, ended up riding into the wild again. If that was the case, then why would Manco mention that he was looking to retire in For A Few Dollars More?

If you accept the (dreadful) prologue scene filmed for the American broadcast of A Fistful of Dollars, then Blondie was arrested at some point; he must have lost his fortune in the process. The simpler view is that the film is not a prequel, and the characters don't exist in the same continuity at all. Blondie's too smart and self-interested to blow a fortune that size, or even to stay in that part of the country in wartime after making so much. If it is a prequel then it ends with a massive irony...since Blondie ends with a fortune in gold; but Manco ends For a Few Dollars More with a much smaller fortune...in Confederate paper money. Well, if you consider the comics to be canon, he decided " Screw the Money, I Have Rules! ", and gave it to Tuco's brother's church because they needed it more than he did. Shouldn't Tuco have noticed his gun was empty? He took it out of its holster just before the big climax, and any experienced gunman knows the difference between the weight of an empty gun or a loaded gun.

And don't just say it's because he's stupid, because he actually made that gun and he's a master when it comes to street smarts. Technically, he doesn't take it, he has it tied on a rope. When he "takes" it, he actually grabs the rope and pulls it up. That could have tricked him about the weight difference. On that note would Tuco have tried to shoot Blondie if his gun did have bullets or was he going for an Enemy Mine where he and Blondie would double team Angel Eyes? Tuco came off as having some what of a Fire-Forged Friends thing going on with Blondie near the end. He aims at Angel Eyes. The only question is would he have shot Blondie afterwards? He spent much of the movie's first half trying to kill him until Blondie accidentally got a secret Tuco needed, so I say he definitely would have killed him. Also, after Blondie shoots Angel Eyes the first time, Tuco is desperately fanning his empty gun...and pointing it up at belly or chest height, not down on the ground where Angel Eyes has fallen. So I think he is trying to kill Blondie at that point.

When Blondie recocks his hammer, Tuco hears it and looks up in his direction— a different direction. He had been aiming at Angel Eyes. Is Tuco really guilty of the vast majority of the crimes he is accused of committing during each of the attempts to hang him? I'm not saying he isn't a criminal because he clearly is but morally speaking he doesn't seem all that different from Blondie's character and so I'm assuming he isn't necessarily all that bad a guy. Considering the con he's running with Blondie, it wouldn't be surprising if he's claimed credit for some crimes he hasn't actually committed in order to drive up his bounty. Alternately, he is that bad a guy, and it just wasn't important for the plot that the audience actually see him committing those crimes. At the last hanging, the announcer says the condemned spontaneously confessed, and Tuco was pretty clearly embellishing by this point: ...murder, assaulting a justice of the peace, raping a virgin of the white race, statutory rape of a minor of the black race, derailing a train....robbing an unknown number of post offices....selling fugitive slaves....and misrepresenting himself as a Mexican general....

Why did Tuco and Blondie need to blow up that bridge to get across the river? I assumed they weren't just leaving because they needed the bridge to get across, but then they destroyed the bridge to make the armies leave. Why? Why not just go up or downriver a bit and cross there? It's not like the armies wouldn't let them go, as soon as the bridge was destroyed they left without them. They were conscripted for as long as that bridge was there- they were let go because the bridge was gone. Plus crossing up or downriver carries several dangers (eg. running into troops, running into Angel Eyes, stray mortar, etc.). But aside from all that, the battle for the bridge was "a senseless waste of human life", and Blondie at least has something of a conscience; Tuco less so, but he agrees that it would be better for everyone if the bridge vanished, and Blondie might just be a good / bad / ugly influence on him in that respect. The battle was over control of the bridge. Without the bridge, there's no reason for either side to fight a pitched battle anymore, but both sides do still bombard the other with artillery after the bridge is destroyed.

The captain says he'd like to see the bridge destroyed because of the senselessness of fighting for it. When he was mortally wounded, Blondie decides to grant his dying wish. Why do the Confederate prisoners play music for the camp guards when they know that every time they do, one of their own is tortured? If they refuse to play, the guards cannot beat up prisoners without it being heard throughout the camp, and it's not as if the guards can threaten them to play because the commandant is quite firmly against brutality and would probably stand up for his prisoners if only they would voice their fears and suspicions. I think the implication is play unless you want to be next. The scene where Tuco pulls the revolver from under the soap suds... how was it still operable? I didn't post this in Fridge Logic because some types of guns are waterproof... but I don't think such existed at the time the film is set? It might have just been in the suds and not in the water itself. When Tuco first makes his new gun, he listens to the clicks. It's possible he was checking if it was waterproof.

He was listening to the cylinder stop, to check how well it would lock up the cylinder when firing, and not end up dropping the hammer between chambers, or slightly out of line with the barrel. Then again, these guns are sometimes anachronistic as they switch between period-correct cap and ball guns (not at all waterproof) and cartridge converted guns (about 5 years or so early), which have some chance to resist water. Blondie knew he had tampered with Tuco's gun, so the only threat to him in the duel was Angel Eyes. Why then did he wait so long for Angel Eyes to make the first move when he could have just shot him quickly? In fact, why call the duel at all if he could have just shot Angel Eyes while following Tuco to the graveyard? The Man with No Name was playing a serious Batman Gambit with Tuco. Yes, he unloaded Tuco's gun, but there was always the possibility of Tuco checking his gun at any point before the big stand off. Had Tuco checked, things would have been a lot more suspenseful. The Man with No Name knew this, and took the risk. It's possible Blondie was just following his moral code.

Throughout the movie he doesn't shoot anyone until they try to shoot him. To the last question - Blondie looks genuinely surprised when Angel Eyes shows up and tosses the shovel...and at that point Angel Eyes has the drop on him. So I don't think Blondie really has a chance to shoot him before the duel. On the other hand, since Angel Eyes saw them at the gravesite (which he assumed was the right one), I wonder why he didn't just shoot them in the back, or better still pick them off at long range with the rifle he was carrying on his horse. One possibility is pure sadism...he thinks he's holding all the cards, and he likes the idea of forcing them to dig up the money, then die at his hands, humiliated and knowing they were beaten. "Every gun makes its own tune." Blondie heard Tuco's gun in the desert (when he shot his hat and canteen), but between then and the time Blondie utters this line, they've been captured and disarmed. Tuco escapes the train with no weapon at hand except Wallace's sidearm (which doesn't work when he tries to shoot off his handcuffs).

So...leaving aside whether it's realistic for Blondie to recognize an individual gun by sound alone...how did Tuco end up with his old gun? It is possible that Tuco's old gun was also custom-made from parts of different guns, and he made the new one to be just like the old one, hence the same sound. :: Indexes :: Angel Eyes (The Good, the Bad and the Ugly) | Ultimate Pop Culture Wiki | Fandom powered by Wikia Ultimate Pop Culture Wiki Angel Eyes (The Good, the Bad and the Ugly) 12,473pages on Lee Van Cleef as Angel Eyes First appearance Nationality American Angel Eyes Sentenza is a fictional ruthless mercenary from the 1966 Sergio Leone Spaghetti Western The Good, the Bad and the Ugly portrayed by Lee Van Cleef . Contents Edit Angel Eyes plays the role of the Bad in the film, a sociopath with no human feeling who kills anyone in his path. He afterwards brutally beats up a young prostitute.

When Blondie ( Clint Eastwood ) and Tuco ( Eli Wallach ) are captured while disguised as Confederate soldiers, Angel Eyes is the Union sergeant who interrogates them and tortures Tuco, consequently learning the name of the cemetery where the gold is buried, but not the name on the tombstone. Angel Eyes forms a fleeting partnership with Blondie, but Tuco and Blondie turn on Angel Eyes when they get their chance. When the trio arrive at the cemetery a 5 minute Mexican stand off between the three men ensues. Finally Angel eyes draws his gun to shoot Tuco but he is not quick enough and is shot by Blondie, wounding him, Blondie then shoots him again this time fatally, sending his lifeless body rolling into an open grave. Real name Edit The real name of Angel Eyes is Sentenza, as revealed by the Italian version of the movie. The English nickname Angel Eyes was actually invented on the set by Eli Wallach . The real name of Sentenza is never revealed in the English dub of the movie. Casting for Angel Eyes Edit Originally, Leone wanted Charles Bronson to play Angel Eyes but he had already committed to The Dirty Dozen . The director thought about working with Lee Van Cleef again.

"I said to myself that Van Cleef had first played a romantic character in For a Few Dollars More . The idea of getting him to play a character who was the opposite of that began to appeal to me," Leone remembered. [1] Reception Angel Eyes was voted 81 in Wizard Magazine's 100 Greatest Villains of All Time. References AMC Total Ratings: 30 (avg 4.5) Excellent Review Positioned in history between the earnest majesty of John Ford’s The Searchers and Sam Peckinpah’s doomed cowboy dirge The Wild Bunch , Sergio Leone’s The Good, the Bad, and the Ugly is animated by the best those classic westerns have to offer. Sergio Leone’s Spaghetti Western masterpiece is still committed to many of the basic conventions of the not-yet moribund genre, embracing the wide-eyed epicness of Ford’s standard-bearer.

But Blondie (Clint Eastwood), Angel Eyes (Lee Van Cleef), and Tuco (Eli Wallach), the respective title characters, occupy a brutal and complex moral world akin to Peckinpah, where women are beaten, crippled fathers are executed in their homes, and the ironically-named ‘good’ guy earns his name for being only slightly less vile than the other gunslingers. But Leone’s mixture of seemingly incompatible elements is what makes The Good, the Bad, and the Ugly so great. Not only does he combine a Cinemascope-era outlook with an eye for grittiness, but he mingles tasteful realism with a flamboyant, self-conscious style. Freeze frames, intertitles, and point-of-view shots brilliantly co-exist with the meticulously appointed period sets and sweeping frontier vistas. This fusion, in addition to a surplus of creativity and lack of restraint, makes the third in the so-called ‘man with no name’ series the crowning glory of his career. The Good, the Bad, and the Ugly doesn’t seem to have enough plot to merit its three-hour running time.

But Tuco and Blondie’s betrayals and grudges, the secret that bonds them together and the race against Angel Eyes to find a pot of gold is only a canvas for Leone to detail his three principals. Indeed, the world of GB&U totally revolves around the title characters. Secondary players are brushed aside as soon as their usefulness expires. Tuco, Blondie, and Angel Eyes exist on a plane of their own: Old West superheroes whose only challenges are their battles against each other. Eli Wallach’s sweaty and savage Tuco is a welcomed counterpart to Eastwood’s sassy but stoic Blondie. Lee Van Cleef looks like the fastest honor student in the West, trying to come off as a bad ass with tight outfits and prancing horse — and somehow managing to do so. But his ‘good at math and science’ approach to evil is no match for the wily ways of the other two, who manage to form a flimsy alliance to arrive at a deservedly famous final showdown in a Civil War tombstone amphitheater. Leone is a master a milking tension from what would be, in the hands of a lesser director, throwaway establishing shots.

The opening of a door, the meeting of strangers in the street, and the dimming of a lamp all manage to move the audience to the edge of their seats. The hard thing about The Good, the Bad, and the Ugly is that the Leone charges those moments with his signature techniques: increasing close-ups, accelerating montages. These methods — and Ennio Morricone’s much-whistled coyote cry and surf guitar score– were so successful that they have entered into the pantheon of cinematic cliché.

Question: Which 1966 western featured the characters Tuco, Blondie and Angel Eyes?
Answer: The Good, the Bad and the Ugly