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…
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.
I was very disappointed by this film. I really need to watch the Italian version because the dialogue in the English dub was awkward as hell and made me think Ryan Gosling based his performance in Drive on Franco Nero here. There were some really great moments (the coffin reveal, especially) and I loved the image of Django hauling the coffin through the muddy wasteland. The world here felt dirty and bitter, much more disgusting then the Leone westerns. But the low budget betrayed the rest of the film because, especially with the saloon girls, the costumes did not match this aesthetic. The character of Django was just kind of a conniving dick and I don't even know what was…
Brutal for the time and has a dirty, bleak look to it that I dug (no pun intended if you have seen this). Django is your typical badass loner type, his coffin surprise is cool and his enemies are ruthless and vile. Beautiful women and a chubby bartender are here too. Django's ultimate goal is a bit convoluted. It's no Django Unchained, but some of the music used in that came from this. And the music is awesome.
Can you hear this!
Not the bloodiest western ever, but it may very well be the muddiest.
What struck me the most about this one is the originality it brings to a well-worn story--the "man rides into town" genre. Just when you think you know this story already, you get a totally striking image--the villain's men wear red felt masks that make them look like Red Hood; Django trails a coffin behind him everywhere he goes, and you can bet there's something interesting inside--or a plot twist that forces Django into all kinds of contortions to come out all right. Seriously, I don't know if I've ever seen such a how's-he-gonna-pull-this-off ending. Typical of spaghetti Westerns, the dialogue is all dubbed, which may prove distracting to some people, but I kind of like it. It lends a…
"You can clean up the mess, but don't touch my coffin."
Forgive me, film fandom, for I have sinner. It should have never taken this long to see Django, the 1966 spaghetti western starring Franco Nero and directed by Sergio Corbucci. This insanely violent (for its time, at least), dirty, dark, and fantastic film is one that clearly inspired Quentin Tarantino, as well as a slew of other directors, leaving a trailer of over thirty unofficial sequels in its wake. Though it's horrendously dubbed, it actually adds a certain charm to the proceedings.
The film riffs a lot off of Akira Kurosawa's Yojimbo, with the idea of a stranger wandering into town, caught between two waring factions, and putting them…
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…
The ultimate Western featuring the genre's ultimate gunslinger.
♪(Django) Django, have you always been alone
(Django) Django, have you never loved again
Love will live on, oh, oh
Life must go on, oh, oh
For you cannot spend your life regretting♪
Few movies are as cool as this.
- My Neighbor Totoro
- Grave of the Fireflies
- Final Cut - Ladies & Gentlemen
- For All Mankind
- The Brood
- Winter Light
- The Changeling
No idea if there is a list for this yet, but I think I will keep this as kind of…
- 21 Grams
- Johnny Got His Gun
- The Ugly Swans