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Django is a 1966 Italian spaghetti Western film directed by Sergio Corbucci and starring Franco Nero in the eponymous role. The film earned a reputation as being one of the most violent films ever made up to that point and was subsequently refused a certificate in Britain until 1993, when it was eventually issued an 18 certificate. Subsequent to this the film was downgraded to a 15 certificate in 2004. Although the name is referenced in over thirty "sequels" from the time of the film's release until the mid 1980s in an effort to capitalize on the success of the original, none of these films were official, featuring neither Corbucci nor Nero. Nero did reprise his role as Django in 1987's Django 2: Il Grande Ritorno (Django Strikes Again), in the only official sequel to be written by Corbucci.
A mildly sluggishly paced first half does almost nothing to dilute one of the all-time great movie heroes (complete with one of the all-time great movie hero theme songs).
What struck me this time around is how bifurcated Django the movie and Django the character are - in the first half, he's almost Batman-like, with his hat pulled over his eyes and dispassionately blowing people away with his pistol and then with (spoiler alert!) his machine gun. Then, he meets up with the Mexicans, his hat comes off, and all of a sudden he's a human being. It's a weird counterpoint to Eastwood's Man With No Name, and a dynamic I'd somehow not noticed before.
The sequence with Django taking back his gold is one of my favorite set-pieces ever, and a great example of the "cinema of process." And the whole movie takes place in a believably (but still entertainingly) scuzzy and evil world. Beautiful!
I don’t know if I can say anything coherent about Django, I’m too caught up staring into Franco Nero’s eyes (seriously, that man is soooo fine). The camera loves his eyes too, using them judiciously, withholding them until the most effective moments.
Django starts with an incredible image - the lone figure trudging across empty land, dragging a heavy coffin behind him, bringing death with him. That figure is an enigma, but the film gives just the right amount of information about him, at the right times.
The energy in the film is raw and explosive. There is a slow simmer that kept me intrigued. The villain is so bad, but not comically bad; rather, pure evil bad. A ballet…
"If you're a coffin maker, you sure did pick a good town to settle."
Really hard to talk about anything but the brilliant visual metaphor of an outlaw dragging his own coffin behind him through the blood-soaked mud of the badlands. Simultaneously symbolic of the burden of mortality and the price of vengeance, encapsulating both the existentialism of the vanishing frontier and the desperate violence of personal ethical codes in a lawless, uncivilized land.
There's an incredible precision in the direction here that translates into tremendously evocative imagery (the famous profile shot of Django with his head low, his hat pulled down over his eyes, as he glances sidelong at the man entering the saloon, as if smelling the evil…
The Italian Western a.k.a Spaghetti Western subgenre was born in the hands in one of (if not) the most important directors in the history of cinema, Sergio Leone, and since then, it has influenced thousands of well-known filmmakers, such as our beloved Quentin Tarantino. Everything that's cool about the subgenre is present in Sergio Corbucci's most iconic film, Django, which is an action-packed western full of wonderful moments to enjoy.
The most important element in Spaghetti Western films might be the new style of editing, which played a crucial role in Sergio Leone's masterpieces and which is also present in Corbucci's Django. The way the film shifts from character to character and from shot to shot is impressive, relying on…
DJANGO! OH-OH-OH, DJANGO!
YOU MUST GO ON! OH-OH-OH, DJANGOOOO!
Coolness on a plate. While the first third of this influential masterwork drags as much as the coffin Django carries with him, the rest of the film is absolute, unadulterated western nirvana. You've got France Nero staring at people in a way that only he and Clint Eastwood can do, you've got a seriously bad-ass machine gun, you've got dynamite, you've got ear-slicing, you've got prostitute mud-wrestling; it's all here.
I was surprised at how influential this actually turned out to be, and I'm fully satisfied. You can see where Tarantino got some of his inspiration for Django Unchained, especially in terms of soundtrack and the appearance of General Jackson's men (bag-heads!)
All in all, just awesome.
"Franco Nero", of course, is Latin for "great justice and impossible badassery".
I was pleased, watching this again in the middle of a hefty research project about trickster mythology, to find that it is, in fact, a trickster story. Many Westerns are about a stranger without a home coming into a troubled town, but few take the pains to make their wanderer as liminal as Django - a blue-eyed white man with a Spanish name coming into a town where the white population are violently persecuting the Mexicans. The side of justice appears to be obvious at first, but Django remains stubborn in his determination to exist in between. He also has elements of the psychopomp, a mythical archetype who…
It looks good, and has a body count around fifty-nine. No single conflict ever takes hold, but Django always looks cool.
Kind of like a classic rock anthem: 5+ endings, borders on operatic, wooden acting etc. But you can't look away. Watch for the machine gun that kills dozens without being shot and without using bullets. 3 1/2 stars for blue eyes.
This is one of my absolutely favorite kinds of movies.
DJANGO (1966, Sergio Corbucci) is the story of a mysterious gunslinger (Franco Nero) in the old West who drags a coffin behind him wherever he goes. He has a vendetta against Major Jackson (Eduardo Fajardo), a former Union Major who murdered Django's wife, and Django comes to a small town on the Mexican border whose prostitutes Jackson and his men are known to frequent. From there, he hatches an elaborate plot to get his revenge, involving the local Mexican crime boss (Jose Bodalo), a prostitute he saved from Jackson's men (Loredana Nusciak) earlier, and some heavy artillery. Will Django succeed in his quest, and will he and the woman get…
Best theme song ever! Unfortunately the film didn't live up to that theme and it isn't a patch on Corbucci's The Great Silence but it has it's moments of madness worthy of a watch.
A FISTFUL OF LIRAS.
Two years after A Fistful of Dollars, but equally a remake of Yojimbo, it is arguable that for all that the Eastwood film is more famous, Django has been far more influential, especially amongst the Miramax set with an ear getting lopped off and guns being stored in nontraditional weapons cases.
And with the possible exception of Sergio Leone's more playful camera, there isn't that much more to recommend the Eastwood film. What Django star Franco Nero lacks in intensity, he more than makes up for with sheer beauty. I'm not sure how he wasn't a gay icon, especially since his main use for a beautiful woman of ill-repute is as a distraction for henchmen. The score is aces, and…
Django is a film that is overflowing with awesome style. There are so many individual scenes and set pieces in this film that I could talk about: That opening image, the title song, the coffin reveal, the bar fight... the list goes on and on. Almost every scene in this film is memorable and exciting. The film contains horrendous dialogue and probably some of the worst dubbing in existence, but that does little to detract from the joy you feel from watching Franco Nero dole out some violent justice to the bad guys and look like a badass doing it. People usually only look to Sergio Leone when they think of Spaghetti Westerns, but one shouldn't dismiss Sergio Corbucci filmography without at least giving Django a chance.
I love the ending to this and it has one of the best theme songs ever
This review may contain spoilers. I can handle the truth.
Django's plans don't always work out so well, but he does manage to kill half the population of the West, destroy a saloon, lose a lot of gold and spend many long hours taking a coffin for a walk.
Yet Django remain's a unique film in the Western genre, it's use of imagery (esp. crucifixes and the colour red), the setting (you will never see so much mud in a Western) and the final shootout give the film a bleak yet fascinating atmosphere.
Doesn't the title of the list explain it well enough? This is a list of hight quality "short" films. Easy…
Quentin Tarantino's favorite films based on the internet pulled from multiple sources.