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Directed by | |||
| Sergio Leone | |||
Writing credits | ||
| Luciano Vincenzoni | (story) & | |
| Sergio Leone | (story) | |
| Agenore Incrocci | (screenplay) (as Age) & | |
| Furio Scarpelli | (screenplay) (as Scarpelli) & | |
| Luciano Vincenzoni | (screenplay) & | |
| Sergio Leone | (screenplay) | |
Produced by | |||
| Alberto Grimaldi | .... | producer | |
Original Music by | |||
| Ennio Morricone | |||
Cinematography by | |||
| Tonino Delli Colli | (director of photography) | ||
Film Editing by | |||
| Eugenio Alabiso | |||
| Nino Baragli | |||
| Joe D'Augustine | (extended English-language version) | ||
Costume Design by | |||
| Carlo Simi | |||
Makeup Department | |||
| Rino Carboni | .... | makeup artist | |
| Rino Todero | .... | hair stylist | |
Production Management | |||
| Fernando Cinquini | .... | production manager | |
| Aldo Pomilia | .... | production supervisor | |
| Gray Frederickson | .... | production manager: USA (uncredited) | |
Second Unit Director or Assistant Director | |||
| Fabrizio Gianni | .... | assistant director | |
| Giancarlo Santi | .... | assistant director | |
Art Department | |||
| Carlo Leva | .... | assistant art director | |
| Carlo Simi | .... | sets | |
| Tani | .... | equipment | |
Sound Department | |||
| James Alfaro | .... | second engineer (2003 extended English-language version) | |
| Vittorio De Sisti | .... | sound engineer | |
| George Haddad | .... | sound designer (2003 extended English-language version) | |
| Kent Harrison Hayes | .... | audio restoration and remastering services (2003 extended English-language version) | |
| Bob Lacivita | .... | re-recording sound mixer (2003 extended English-language version) | |
| Preston Martin | .... | second engineer (2003 extended English-language version) | |
| Garry Morris | .... | audio restoration and remastering services (2003 extended English-language version) | |
| Elio Pacella | .... | sound engineer | |
| Alan Porzio | .... | adr editing (2003 extended English-language version) | |
| Alan Porzio | .... | adr recordist (2003 extended English-language version) | |
| Nathan Scruggs | .... | second engineer (2003 extended English-language version) | |
| Fausto Ancillai | .... | sound mixer (uncredited) | |
Special Effects by | |||
| Eros Bacciucchi | .... | special effects | |
| Giovanni Corridori | .... | special effects (uncredited) | |
Stunts | |||
| John Landis | .... | stunt performer | |
| Fabio Testi | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Franco Di Giacomo | .... | camera operator | |
| Sergio Salvati | .... | assistant camera | |
Costume and Wardrobe Department | |||
| Antonelli | .... | costumes | |
Editorial Department | |||
| Neri Nazzareno | .... | final colorist | |
Music Department | |||
| Giuseppe Mastroianni | .... | music recordist | |
| Bruno Nicolai | .... | musical director | |
Other crew | |||
| Carlo Bartolini | .... | production assistant | |
| Serena Canevari | .... | script girl | |
| Luigi Corbo | .... | production secretary | |
| Jack DeLeon | .... | adr talent (extended English-language version) (as Christopher Weeks) | |
| Mickey Knox | .... | dubbing director (english language version) | |
| Eugenio Lardani | .... | title designer (as Lardani) | |
| Antonio Palombi | .... | production secretary | |
| André Sogliuzzo | .... | adr talent (extended English-language version) (as Andre Sogliuzzo) | |
| Federico Tofi | .... | production assistant | |
| Emilio Cigoli | .... | voice dubbing: Lee Van Cleef (uncredited) | |
| Nando Gazzolo | .... | voice dubbing: Luigi Pistilli (uncredited) | |
| Oreste Lionello | .... | voice dubbing: Josef Egger (uncredited) | |
| Pino Locchi | .... | voice dubbing: Aldo Giuffrè (uncredited) | |
| Glauco Onorato | .... | voice dubbing: Al Mulock (uncredited) | |
| Luigi Pavese | .... | voice dubbing: Antonio Casas (uncredited) | |
| Nino Pavese | .... | voice dubbing: John Bartha (uncredited) | |
| Bruno Persa | .... | voice dubbing: Victor Israel (uncredited) | |
| Mario Pisu | .... | voice dubbing: Livio Lorenzon (uncredited) | |
| Carlo Romano | .... | voice dubbing: Eli Wallach (uncredited) | |
| Enrico Maria Salerno | .... | voice dubbing: Clint Eastwood (uncredited) | |
| Rita Savagnone | .... | voice dubbing: Rada Rassimov (uncredited) | |
| Renato Turi | .... | voice dubbing: Mario Brega (uncredited) | |
Thanks | |||
| Clint Eastwood | .... | special thanks (2003 extended English-language version) | |
| Alberto Grimaldi | .... | special thanks (2003 extended English-language version) | |
| Eli Wallach | .... | special thanks (2003 extended English-language version) | |
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| C'era una volta il West | Per qualche dollaro in più | The Treasure of the Sierra Madre | Per un pugno di dollari | Ghost of Zorro |
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On a partial first viewing, I didn't like "The Good, the Bad and the Ugly." I thought it was a slow, tedious story about a bunch of unpleasant jerk characters involved in a bog-standard conflict over money. It all seemed very macho and self-consciously cool, and it had obviously inspired all the overrated macho directors I don't like in my own generation - Tarantino, for example, and Robert Rodriguez. In short, I was unimpressed.
Years later, I gave the film a second shot, watching it all the way through this time. I loved it. What had changed?
For one thing, I took more notice of the technical side of the film. I paid attention to Leone's famous use of close-ups, his selection of memorable character actors, and his wonderful scene-setting. I admired the detailed sets and the sweeping landscapes, the props and the costumes and all those weird, wonderful faces that Leone clearly loved to photograph.
I also got hooked by some of the quieter moments that I had skipped over in my first viewing. One of the most effective scenes involves Eli Wallach's character, Tuco, quarreling with his brother when they meet after they've been apart for years. Their argument is great, emotionally charged stuff, made all the more effective by the suggestion that they really do love and care about each other. It's the kind of sensitive, human scene you never get to see in a Tarantino or Rodriguez movie.
Before I get too fuzzy-wuzzy, I should also like to point out that, on my second viewing, I LOVED all the action, too. Every gunfight is great, in its own way, and they're all a bit different. The greatest of them all is, of course, the final confrontation between the trio, which is accompanied by some of the most rousing music I've ever heard in a film. And hey, there's even a huge Civil War battle to provide a change of pace from all the small-scale action.
Ultimately, "The Good, the Bad and the Ugly" is probably just a potboiler of a film, without too much to say about, for example, the human condition. But what a potboiler! It doesn't have to try to be cool - it simply IS cool. In fact, it probably defined heroic coolness for an entire generation. Eli Wallach's performance, Leone's direction and Morricone's music alone are enough to elevate it to classic status - and the fact that everything else in the movie is great, too, helps elevate it to the level of perhaps the greatest action film ever made.
And to think, I missed all that the first time through...