The Good, the Rough one and the Gangster

the Good, the Rough one and the Gangster ( It Buono, it brutto, it cattivo or The Good, the Bad and the Ugly ) is a Western spaghetti carried out by Sergio Leone in 1966.

To supplement the Trilogy of the dollar and to eliminate once more the risk to repeat itself, Sergio Leone increases by two to three the number of protagonists. Just like Clint Eastwood divided the high-speed motorboat with Lee Van Cleef in the second film ( And for some dollars moreover ), those divide the screen with Eli Wallach in this third film.

Another innovation, the irruption of the History in the scenario, with the American Civil War states-unien. Characteristic even more single: the chronological positioning of film inside the trilogy. The author seems to want to suggest a cyclic return without end: Whereas in the first two films, the war seems already finished, here it always makes rage. Rather than a conclusion, therefore, this third film would report facts which occurred several years before. In support of this assumption, the character of Clint Eastwood (the constant which binds three films) does not present himself in his usual behavior. Instead of a Poncho, it carries a long coat. It is during this film that it finds its famous poncho and endorses it, finally finding appearance external of the character of the first two films. Other elements seem however to contradict the assumption that it is about the same man. It is thus possible that this history is independent of both others, while being related to those by its treatment, its Mise in scene and its interpreters, rather than by the continuity of the scenario or the identity of the characters.

Synopsis

The film tells the history of three As of the trigger which during the American Civil War are in the search of a disappeared gold loading. The first with being presented is Tuco Benedicto Pacifico Juan Maria Ramirez ( the gangster ) - simply called Tuco - (Eli Wallach), a criminal having made many offenses and whose head is put at price. Tuco is in complicity with Blondin ( the good , interpreted by Clint Eastwood): Cableway delivers Tuco to the authorities, boxes the premium of the arrest, and releases then its accomplice at the time when this one must be hung. Both divide then the spoils and remake the same operation in the close counties. During this time, a third character named Sentenza ( rough the , interpreted by Lee Van Cleef), a killer without pity, learns the existence from a trunk filled with gold coins confederated, hidden by a soldier named Bill Carson. He thus starts to seek more information on this subject.

Cableway decides to break its partnership with Tuco, giving up it in the desert. This one will however succeed in surviving and after a crossing of 70 mile S, it arrives, completely exhausted, in a small village. It decides to be avenged. It quickly finds Blondin and opposite the roles, forcing his ex-companion to follow it to foot in the desert. At a certain point, they meet a Diligence filled soldiers confederated, died or dying. Among those Bill Carson, the man sought by Sentenza is. Carson reveals in Tuco the name of the cemetery where gold is hidden, but request of water in exchange of the name on the tomb. While Tuco will seek a gourd, Carson dies, not without to have given the name of the tomb to Blondin, which suddenly becomes very important for Tuco. This one will have to thus look after it in order to be able to know the name in question.

Disguised as a soldier confederated, Tuco leads Blondin (almost dead) in a catholic mission managed by his/her brother, a priest. While Blondin is restored, the two brothers dispute and each one blames the other for the difficulties of its own life. After having left the mission, Tuco and Blondin, always disguised as confederated soldiers, are captured by a group of soldiers of the Union. They are found in a northerner prison camp.

During this time, Sentenza followed the trace of Bill Carson to this camp, where he became sergeant guard. With the assistance of the Wallace corporal, he tortures Tuco to know the name of the cemetery. When he learns that only Cableway knows the name of the tomb, he changes tactic. He proposes an alliance with this last. Accompanied by 5 or 6 other brigands, they flee both of the camp and leave to research gold. During this time, Tuco is led in a train of prisoners, escorted by the Wallace corporal. It succeeds in fleeing after having eliminated the corporal. In a nearby village, devastated by artillery of the two armies, Tuco meets a wounded Bargain hunter by him at the beginning of film and seeking to be avenged. Tuco the slaughtering. Cableway, which was in the same village, hears the shots and recognizes the sound of the gun of his/her friend. It leaves to its research. Having found, both decide to join again to eliminate Sentenza. They succeed in getting rid of the members of its gang, but Sentenza escapes.

Tuco and Blondin, at the time of their voyage towards the cemetery, are the witnesses of a battle between the confederated forces and those of the Union, which dispute the control of a bridge of great strategic value. Captured once again by the northerner forces, they offer to enlist, after having spoken to the captain about the company. This last, clearly drunk, reveals with the two its secret dreams: to destroy the bridge, in order to put an end to the useless massacre enters the two armies. The best moment would be at the time of the short truce between the battles, when the two armies related to be recovered the casualties. Since the cemetery is on the other side of the bridge, both decide to explode it, in order to force the soldiers to withdraw itself. While they pose the explosives, they decide to appear their secrecies. Tuco gives the name of the cemetery: Sad Hill. Cableway gives the name on the tomb: Arch Stanton.

After the explosion of the bridge, the two armies are withdrawn as envisaged and the two associated ones arrive finally on other side of the river. While Blondin stops close to the ruins of a church, Tuco benefits from it to gallop to the cemetery.

Once fall to it located, it starts to dig furiously. Before to have found anything, it is joined by Blondin, is armed with a gun, which orders to him to dig with a shovel. Sentenza also arrives, armed him, and it orders in Blondin to help Tuco to dig. Cableway reveals that gold is not buried in this tomb, which contains only bones.

Cableway registers on a stone the true name where gold is buried. The three face on a broad place in the middle of the cemetery, for a great duel with three. Cableway cuts down Sentenza whereas Tuco realizes that its gun is empty. Cableway acknowledges to have discharged it the night before. It also shows that it had not written anything on the stone, since fall to it required is that without name, beside Arch Stanton. Tuco is thus constrained to again dig, and as soon as it finds gold, Blondin forces it to do without a cord hung around the blow, upright on the top of the cross of a tomb. Cableway charges half of the spoils on its horse and moves away, while Tuco shouts with the assistance. Once further, Blondin makes fire on the cord and releases Tuco, as at the beginning of film. Cableway flees with half of gold, leaving other half to insane Tuco of rage.

Production

After the success of For a handle of dollars and And for some dollars moreover , the leaders of United Artists contacted the scenario writer of the two films Luciano Vincenzoni to acquire the rights of its preceding works as well as its forthcoming westerns. Neither him, neither the producing Alberto Grimaldi, nor Sergio Leone had projects at the head. In fact, Leone did not even intend to make another western. However, attracted by the enormous amount of money offered (which would enable him to be financially independent for the remainder of its life), it accepted the proposal, without to have still found the idea of next film. Fortunately for him, Vincenzoni proposed the idea of a “ film in connection with three rabbles in the search of treasures during the American Civil War. ” the studio accepted and a budget of 1 million US dollars (more 50% of the incomes of sale of tickets outside Italy) was allotted to the project. Finally, the film will cost 1,3 million, an astronomical sum if one thinks of the precarious conditions under which Leone had to earlier work only two years.

Vincenzoni stated to have written the scenario in eleven days, but well quickly it will leave the project, when the relationship with Leone worsens. He will work then rather on two other westerns, with different realizers: It mercenario (1968) of Sergio Corbucci and Da uomo has uomo (1967) of Giulio Petroni.

1965 mark end of Rawhide, televised series states-unienne in which Clint Eastwood holds one of the role principal. At this time, none Italian films of Eastwood is still distributed in America. When Leone offers to him a role in its next film, this one hesitates, although it is about its only offer of work. He notices that the role of Tuco is more important than it his. He thus asks so that its own role be increased. One will notice on the other hand, in a close-up at the time of the final duel, which it misses with the actor a phalange on a finger of the right hand.

Eli Wallach (Tuco)

Eli Wallach interprets the role of Tuco Benedicto Pacifico Juan Maria Ramirez, the gangster , a comic, awkward and loquacious gangster sought by the authorities. Tuco learns the name from the cemetery where gold is buried, but he does not know the name of the tomb. Only Blondi knows it. This situation the force both with becoming travelling companion. Leone, in connection with the choice of Wallach, tells:

Tuco represents (as will do it Cheyenne in a next film) all contradictions of America, and also partly all mine. I thought of offering the role to Gian Maria Volontè but that did not seem to me by the good choice. Then I chose Eli Wallach, usually employed in dramatic roles. Wallach had in him something of chaplinesque, something that obviously several had never included/understood. To play the part of Tuco, it was perfect.

The two men met with Los Angeles, but the actor was reticent to interpret this type of character again. However, after having viewed the sequence of opening of And for some dollars moreover , he asked: “When do you need me? ” The actor was in danger in several scenes. When it is about to be hung and that it is released by a shot which cuts the cord and which frightens the horse, enabling him to flee with any pace, the horse packed and continued to run during more than 1500 meters with the actor in saddle, the hands always attached behind the back.

To cure this problem, it was thus necessary to ask the assistance of the specialists in the Spanish army. New explosive loads were installed and the cameras placed at various angles around the bridge. Arrived at the less 10 of the countdown, the captain of the army believed to intend the signal to explode the bridge, whereas it was acted in fact of a word addressed to a technician of camera-video. One thus managed only to film the end of the collapse. Eli Wallach tells the events thus:

There were three stations of camera: one brought closer, further and another even further. The man who had installed the explosives for this scene was a captain of the Spanish army. The person in charge of the special effects had said to him that to have it on the plate to help the team of turning was an great honor, and that thus the honor to press on the button of the detonator to blow up the bridge returned to him. The captain answered that he did not want to do it, but the person in charge of the special effects insisted by saying that it was enough to listen until it says Vaya! and to press then on the button. At this time, an assistant asked to the person in charge of the special effects if he wanted to move one of the cameras further, and this one answered vai (in Italian), which means go ahead. The captain believed to hear the signal vaya and pressed on the button. Leone was furious against the person in charge of the special effects. “I will kill it, it is returned! ”. The captain answered that it would make rebuild the bridge, but that this man did not have to be returned. It was Eastwood itself which insisted to move their position towards a surer place. Here also, one thus sees the little of attention carried by Leone with the questions of security, which led Eastwood to advise in Wallach “never to trust nobody in an Italian film. ”

The preparation of the duel with three and the cemetery required an extreme care and a great implication on behalf of the Italian and Spanish Scénographe S, coordinated by Carlo Leva. Leone, at the time one day of pause, went to see how were held work. It was impressed by the precision of the work of Raised. He recalled him that in the final scene, one was to see the bones in the coffin and that those were to be realistic. After being itself addressed without success to the medical departments and the local authorities, Leva learned from a decorator that in Madrid, a woman rented the skeleton of her mother, actress of alive sound. The latter had chosen to offer it thus, in order to “be able to continue her career even after her death”. Raised thus went to Madrid in the car, to take delivery of the perfectly preserved skeleton, exactly such as it appears in the scene of the cemetery. Always during turning to the cemetery, in order to obtain from Wallach an expression of surprised as sincere as possible while it runs of tombs in tombs, Leone made release a dog and let it run on the plate. Concerning turning with the cemetery, the scenographer and costumier Carlo Leva tell:

For the Good, the Rough one and the Gangster , Carlo Simi required of me to find a place adapted to turn the final scene located in a cemetery in time of war, and of course to prepare it according to an outline which I had drawn before. We were in Spain. Near Burgos, I discovered a small plate in the middle of the Pâturage S for the animals of a village. I spoke to the mayor. He agreed to move the herds and to let to us use the ground for turning, provided that we give the places in the state where found we them. There with the assistance of the Spanish soldiers, and with a plow, I prepared the ground in order to be able to install 8000 tombs, made with the ground on the spot found and mixed with straw and sawdust. And the monticules, we raised them one by one by using an empty coffin, in the same way that the children make sand castles on the beach with an empty bucket. When he saw the result, Sergio Leone was filled with enthusiasm by our " work macabre".

The sequence of the duel with three will remain famous in the history of the cinema. Sergio Leone could emphasize it through catches of sights new kind, with close-ups, details like the movement of the eyes and with an assembly increasingly faster which will make school near the following generation of large scenario writers. However, this sequence would perhaps not have had as much impact without without the exaltée musical screen of Ennio Morricone. Leone tells:

I wanted a cemetery which can evoke the arena of a circus of antiquity. There was none. I thus turned to the Spanish person in charge of the pyrotechnical effects which had dealt of the construction and the destruction of the bridge. It lent 250 soldiers to me who built the type of cemetery which I needed, with 10 000 tombs. These men worked during two days whole and all was supplemented. For me, it was not about a whim: The idea of the arena was crucial, like a morbid wink, since the spectators of this duel with three were all died. I insisted that the music expresses the burst of laughter at the corpses inside their tombs. The first three closes-up on the actors took one day complete of work to us: I wanted that the spectator has the impression to look at a ballet. The music gave a certain lyricism to all these images, then the scene became a question of choreography and suspense. The leaders of United Artists were deafened to see the cinemas in the world filling everywhere as ever before they had not filled for a western.

Since its beginnings, this film is remained a favorite of the public. It is often mentioned in the lists and the prize lists of best films. Users of Box Office Mojo . It is also found in the lists of best films of all times of the magazines Mr. Showbiz , Empire Magazine and Time Out like on the site IMDB .

The Good, the Rough one and the Gangster, second part

Sergio Leone did not intend to turn of other westerns. With following film (It was once in the west), it hoped to close the kind. The scenario writer of Leone, Luciano Vincenzoni, however stated several times to have written the scenario of a continuation, the Good, the Rough one and the Gangster, second part, being held approximately 20 years after original film. The single compositions of Morricone, in which it uses detonations, whistles (of Alessandro Alessandroni) and Yodel contribute to create the atmosphere which characterizes film. The principal musical topic, similar to the howl of a coyote, is a melody of two notes become famous. One uses it in film to represent the three main characters, by using a different sound for each one: A flute soprano for Cableway, a Ocarina of the arghilofono type for Sentenza and a human voice for Tuco. This melody will be repeated throughout film like a Leitmotiv supporting the appearance on stage or the exit of a character. Morricone describes the unusual technique used to record it:

When I direct the part during a concert, the howls of coyote which give the rate/rhythm to the main theme of film are usually played clarinet. However, in the original version, I due to resort to a more original solution. Two male-intonated voices sang one over the other, one shouting has and the other E. the resulting AAAAH and EEEEH made it possible to imitate with eloquence the animal and to evoke the ferocity of the wild West. . A new edition was published by Capitol Records in 2004. This one contains additional parts, drawn from film.

Version of 1966

It buono, it brutto, it cattivo - 2:38 (literally: the Good, the Rough one and the Gangster )
It tramonto - 1:12 (literally: to lay down It sun )
It strong - 2:20 (literally: the fort )
It deserto - 5:11 (literally: the desert )
the carrozza dei fantasmi - 2:06 (literally: the Diligence of the spirits)
Marcetta - 2:49
the storia di a soldato - 3:50 (literally: history of a soldier )
Marcetta senza speranza - 1:40 (literally: the despair of Marcetta )
Dead di a soldato - 3:05 (literally: the death of a soldier )
the estasi dell' oro - 3:22 (literally: the extase of gold )
It triello - 5:00 (literally: the duel with three )

Version of 2004

It buono, it brutto, it cattivo - 2:42 (literally: the Good, the Rough one and the Gangster )
It tramonto - 1:15 (literally: to lay down It sun )
Sentenza - 1:41
Fuga has cavallo - 1:07 (literally: Fuite with horse )
It big shot di cord - 1:51 (literally: the bridge of cord )
It strong - 2:22 (literally: the fort )
Inseguimento - 2:25 (literally: the continuation)
It deserto - 5:17 (literally: the desert )
the carrozza dei fantasmi - 2:09 (literally: the Diligence of the spirits)
the missione San Antonio - 2:15 (literally: the mission Saint-Anthony )
Padre Ramirez - 2:37 (literally: Father Ramirez )
Marcetta - 2:53
the storia di a soldato - 3:53 (literally: history of a soldier )
It treno militare - 1:25 (literally: the troop train )
Fine di una spia - 1:16 (literally: end of a spy )
It bandito monco - 2:45 (literally: the gangster penguin )
Due contro cinque - 3:46 (literally: Two against five )
Marcetta senza speranza - 1:40 (literally: the despair of Marcetta )
Dead di a soldato - 3:08 (literally: the death of a soldier )
the estasi dell' oro - 3:23 (literally: the extase of gold )
It triello - 5:02 (literally: the duel with three )

Musicians

Vincenzo Restuccia, percussion S
Free De Gemini, Harmonica
Michele Lacerenza, Trumpet
Francesco Catania, trumpet
Bruno Battisti D' Amario, traditional Guitar
Alessandro Alessandroni, Whistles
Nicola Samale, Flute soprano
Italo Cammarota, arghilofono (the low version of the ocarina, a instrument terra cotta wind of the area of the Abruzzi)
Edda Dell' Orso, voice
Alide Maria Salvetta, voice
I '' Cantori Moderni '' di Alessandroni, chorus
Free Cosacchi, Nino Dei, Enzo Gioieni, Gianna Spagnuolo, voice

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