January 10th, 2019 | Updated on March 30th, 2019
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.
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.
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Movie Reviews: “The Good, the Bad and the Ugly“
Movie Review: Time Magazine
Three years ago, Clint Eastwood—an unshaven, slit-eyed refugee from television’s Rawhide—was glad to get an invitation from Italian Director Sergio Leone to star in a hokey little quickie to be shot in Spain. It was called A Fistful of Dollars, and the title proved prophetic: the picture was a smash. Leone and Eastwood collaborated again on For a Few Dollars More. Now they are back with The Good, the Bad and the Ugly—a title that might serve as the film’s own capsule review.
The good lies in Leone’s camera work—expertly combining color and composition, with sharp attention to the details of shape.
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Movie Review: Daily News
The pinnacle of Sergio Leone and Clint Eastwood’s Man With No Name trilogy (and considering how great the preceding “Dollar” movies were, that’s quite a height), this 1966 Western blazed new trails in cynicism, dark humor and cussed violence for the genre. Co-starring Eli Wallach and Lee Van Cleef, if a Spaghetti Western was ever shot, scored or edited better, it would only be Leone’s follow-up “Once Upon a Time in the West.” But “GBU” remains the iconic piece for all time.
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Movie Review: ColeSmithey
Leone’s liberal use of widescreen shots in conjunction with extreme close-ups gives the movie an epic quality matched in scope by a skeletal narrative structure that breathes with a poker-faced mood, tone, and personality. Leone uses Ennio Morricone’s brilliant musical score to paint large swaths of aural colors across the screen as if it were a three-dimensional canvas brimming with thematic counterpoint.
The filmmaker’s use of stark visual compositions contributes to the story’s surreal landscape where violence is a consequence of the region’s dichotomy between abject poverty and outrageous wealth being spent by the North in conducting the Civil War — an economic power-grab sold to the public, most recently by Steven Spielberg, as a humanitarian battle of moral superiority.
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