Don't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…
The movie that spawned a genre.
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.
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…
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!
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.
I can't stress enough how effective the soundtrack is in this, before Tarantino completely snatched up the entire thing. And if the main hero theme isn't your new party-crasher-as-party-savior entrance music, make it so immediately. I assure you, it will not leave the heads of the party casualties.
Over the weekend I had a long, rambling conversation with a friend of mine about the various merits of what we pejoratively called "trash cinema" (a term that covered everything from John Waters movies to Herschell Gordon Lewis gore-fests to whatever-sploitation films). He had taken offense to the less than glowing review that I had given Gregg Araki's The Doom Generation, and used this as a recrimination of my trash cinema bona fides. The argument eventually degraded (as such arguments tend to do) into a shouting match of "you don't get it/yes I do" and no progress was made whatsoever. But the conversation did make me think about my ever-shifting cinematic tastes, and whether I have somehow outgrown an appreciation…
Film #44 of No Rewatch November
Worst dub ever. Absolutely terrible. The badass factor of the film was victorious in the end though!
I'm convinced that there is a very dark movie somewhere in here. There were glimpses in the hand/horses scene which was fantastic. The dubbing ruined the seriousness of the movie but if I ever get my hands on an italian version I'm sure I'll love this movie.
One of the best spaghettis, and one of the few that really breaks out of the cult ghetto to stand alongside the best Westerns outright. Sergio Corbucci's original is almost a horror with its' apocalyptic muddy town, saddistic villains and humourless, nihilistic protagonist. All the stuff sixties critics wrongly accused the Man With No Name of being, Django is - whatever glimpses of humanity we get in the coffin-dragging cowboy are brutally knocked out before the end.
Always a fun watch, one of the main spaghetti westerns that Franco Nero is well known for (in the many he's acted in).
War raging between Mexican bandits and a US Major's group of soldiers and Django is caught somewhere in the middle, lots of action ensues for this classic.
I do recommend watching this in the original Italian language with English subtitles.
Saw the uncut version with italian languange.
A great western. This what an action movie looks when is shot like a horror movie
Kada su u pitanju Western filmovi nikad nisam volio John Wayne tip westerna, za mene su najbolji Spaghetti Westerni. Iako su imali mizerne budžete talentovani reditelji poput Sergia Leonea & Co su radili čuda i snimali neke od najboljih westerna ikad (npr. Dobar, loš zao) i pri tome lansirali neke kasnije velike hollywoodske zvijezde poput Clinta Eastwooda.
Django (1966) je klasičan primjer odličnog spaghetti westerna. Karizmatičan glavni lik (Franco Nero dosta glumom podsjeća na Clinta Eastwooda što znači da rula sve živo), zanimljiva radnja, odlična western atmosfera praćena karakterističnom muzičkom pozadinom, film je jednom riječju vrhunski. Jedini nedostatci koji su me malo "boli u oči" su posljedica niskog budžeta, pa tako se jasno vidi da mjesto radnje nije u Meksiku ili…
much MUCH better than the dumb Tarantino excess
Lives up to most of the hype. Would make for a great double-bill with the Fulci western *The Brute and the Beast (aka, Massacre Time)*, which also stars Nero. His steely-eyed, low-key, I’m-a-badass-just-beneath-the-surface-and-can-kick-your-ass-whenever-I-feel-like-it demeanor is pretty consistent between the two films, and stands in contrast to his much more melodramatic acting (some would say, over-acting) in something like *Keoma*.
Beyond the gory, mud-caked, broken-fingered finale—and the plot device of using the brothel wagon to gain entry into a military fort (a plot point also used in Damiano Damiani's *A Bullet for the General*)—what really sticks with me is how similar the plot mechanics of a film like this is to the yakuza pictures in Japan in the 70s. Kinji Fukasaku’s…
"My name is Django." - Django
Classic spaghetti western, really good. Thrilling, good story, loads of great shootouts that were really enjoyable, good lead character (good performance from Franco Nero). Django reminded me a lot of Clint Eastwood's Man With No Name, except Django has a name, and he's slightly more proactive. But anyway, it was very, very good. A really enjoyable film. Brilliant music, especially the film's theme song. And, the best thing about this film, it inspired Quentin Tarantino's 'Django Unchained'.
Sergio Carbucci’s Django is the film that spawned over 100 sequels. Of course, all but one of those (1987’s Django 2: il Grande Ritorno) were unofficial, but that was the kind of impact this film had on European cinema.
The first great Spaghetti Western, Sergio Leone’s A Fistful of Dollars, was successful in America, but it wasn’t until Django was released that these films had more global success. The image of Django atop a hill, dragging a coffin behind him as he travels from town to town is so iconic and so cool and it alone should make this film quintessential viewing for any fan of the Western genre.
The film itself is a tough brutal film that was shockingly…
Django, have you always been alone?
Django, have you never loved again?
Love will live on, oh oh oh...
Life must go on, oh oh oh...
For you cannot spend your life regreatting.
...und ich Narr dachte, dass der Song eine "Neuentdeckung" für Tarantinos Unchained war.
Ich kann verstehen, dass sich Tarantino hier bei sehr vielen Elementen bedient hat, er war bei seiner Erstsichtung bestimmt genauso geflasht wie ich gerade. Man mag es garnicht für möglich halten wie "stylish" ein Film von 1966 sein konnte. Wäre nicht die altbackene Synchro und der klassische Filmlook könnte man hier auch von einem aktuellen Film ausgehen und das verdankt der Film einem großen Entscheidenden Faktor - Franco Nero.
Franco Nero ist…
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No idea if there is a list for this yet, but I think I will keep this as kind of…
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Each week I'll post a new letter and all you have to do is nominate a film that you think…