Doesn't the title of the list explain it well enough? This is a list of hight 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…
"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…
I have this theory that Quentin Tarantino saw a lot of bad movies as a kid and thought to himself, "sheeit I could do this all so much better."
if that's the case, he's just proven himself correct because holy damn is this movie bad.
Why did I decide to watch it, you might ask? Well I'd enjoyed "Django Unchained" well enough (it's not his best but it's still damned good genre filmmaking), and I was like "hmm, what would it be like to watch a movie that directly inspired one of our great modern filmmakers?"
I regret it.
I'm not even letting the fact that this is an Italian film with English voice actors dubbing over the original performances…
A lone gunslinger who constantly carries a coffin ends up in the middle of a conflict between a group of Mexican revolutionaries and a racist gang.
The first half was nothing to write home about, with farfetched motivations and the most clichéd section of the plot, as well as an overpowered protagonist. Then the second half came and made what came before make more sense, as well as giving Django much more humanity. The film realy seems to get progressively better as it goes on, culminating in an incredible final showdown.
It's not nearly as good as any of the Man with no Name films, but it's an entertaining Spaghetti Western that has the right edge to it.
"Can you hear this?"
The main theme alone warrants a watch.
Included in: On Westerns.
sokkal jobban tetszett, mint 2009-ben először.
Corbucci eddigre belejött a dologba, Bacalov zenéje és Franco Nero is király.
I'll admit that I was pretty bearish on the first half of the film. Perhaps it was because I had watched 'The Great Silence' only a week before and had a better Corbucci in mind; perhaps I was just turned off by how far the character of Django pushes the boundaries of the antihero. Come the second half, however, all was forgiven. When Nero is actually given an opportunity to make Django somewhat sympathetic, the movie resonates deeply. Bonus points for one of the best closing shots I can remember in a Western. (Amazon VOD)
Watched this on a whim last night, and greatly enjoyed it. Non-Leone spaghetti Westerns are a blind spot for me, and this was a welcome introduction.
My 40 favorite westerns of what I have seen. Excluded comedy (Blazing Saddles, Maverick etc..) and some films that often…
No idea if there is a list for this yet, but I think I will keep this as kind of…