Doesn'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.
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…
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…
Holy Fuck! If there is a cooler film than this I'd be gobsmacked (If any I'd suspect the French, 'Here's lookin at u Melville'). I don't think the film could have been more tailor made for entertaining me with the blending of the bloody Italian horror aesthetic and western genre that I've slowly begun to become familiar with. I do seriously think that my learners knowledge of 30-40-50s westerns and Italian film played a seriously big part in appreciating it just a smidge more than I'd've expected. Franco Nero completely dominated the blue eyed role but his supporting cast are most definitely equal opportunists with their larger than life roles completely working for me.
The westerns that I slowly watched…
Django is a lot of fun. As other reviewers have mentioned, the first haf suffers from being slow. The second half, however, kicks it up a notch or three, and the we are led into a great chasm of action and adventure. I had much more fun watching this than I thought I would, though I have to admit that watching Django drag that coffin around with him for the first half of the movie had me hooked. It promised dark stuff. And we got that in spades.
**Blue Underground Blu-ray**
Sergio Corbucci's 1966 Django is one of the most acclaimed Italian Westerns of all time, and rightfully so. I wonder how big of an influence Ruggero Deodato had on the final cut as assistant director? I like to think a splash of Deodato's style was permitted, due to a nice helping of bloody violence. What I love about Django is he is the quintessential anti-hero. He walks the ravaged country side in a long black coat; black hat, dragging a muddy coffin with only a machine gun & revenge occupying it. Django is a lightening fast draw, taking out 4 to 5 men in a blink of an eye. Django is fearless and uncharitable, but not above making…
Sergio Corbucci è stato un grande regista, innovativo, prolificissimo,
visionario, e lo dimostra ampiamente anche in questo film ormai diventato un cult.
L'"uomo con la bara" è una trovata geniale, il paesino sommerso dal fango e dalla mota un luogo dell'anima, la scazzottata girata e montata da dio. il finale un colpo al cuore.
Clint Eastwood surrogate and lookalike, Franco Nero stars as the eponymous anti-hero Django in Sergio Corbucci’s classic and hugely nihilist spaghetti Western. The film opens with one of the all-time great sequences, with Django walking through a muddy rain washed desert dragging a coffin behind him as Rocky Roberts sings and the strings swell with the Django theme tune – surely one of the greatest character entrances ever. Following on from this startling opening sequence, Django comes across a group of men beating a woman, Maria (Loredana Nusciak). He rescues Maria and takes her with him to the nearest town, where they hole up at a bar / bordello owned by Nathaniel (Ángel Álvarez) to await Major Jackson (Eduardo Fajardo)…
One of the craziest movies I have ever seen.
Man, that sure explained a lot.
I really, really like the Corbucci westerns. This is a real treat and the final showdown is so great. Totally awesome.
"You can clean up the mess, but don't touch my coffin"
Sergio Corbucci and Franco Nero both blew my mind.. It is a calculative western revealing it's cards very slowly..Nifty action sequences and some killer one liners.
P.S - I prefer rewatching this any day over Django Unchained!
[...] Gut und Böse gibt es nicht – „die Guten“ sind alles andere als rein und edel, eher korrupte, widerliche Drecksäcke, die Bösen sowieso. Eine Welt, die sämtliche Werte verloren hat – von klassischer Western-Ehre ganz zu schweigen – denn jeder spielt für nichts, rein gar nichts, als den eigenen Vorteil. Loyalität oder Freundlichkeit existieren nicht und Menschenleben sind nicht einen Penny wert, in dieser dreckigen Welt aus Schlamm, Staub und Trostlosigkeit. Hier reiten keine Helden auf edlen Gäulen durch die Prärie, hier schleifen unbekannte Fremde Särge durch die Landschaft und alten Freunden werden die Hände zertrümmert. Auch unser „Held“ ist mehr als zwielichtig und höchst ambivalent – ob er gehasst oder geliebt werden soll bleibt Auslegungssache.
Diese Dreckswelt in…
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