9 | / 10 |
Users | 4.3 | |
Reviewer | 4.5 | |
Overall | 4.3 |
A bounty hunting scam joins two men in an uneasy alliance against a third in a race to find a fortune in gold buried in a remote cemetery.
Starring: Clint Eastwood, Eli Wallach, Lee Van Cleef, Aldo Giuffrè, Mario BregaDrama | 100% |
Period | 64% |
Epic | 52% |
Western | 50% |
Adventure | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.35:1
Original aspect ratio: 2.35:1
English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
German: DTS 5.1
French: Dolby Digital 5.1
Portuguese: Dolby Digital 5.1
Spanish: Dolby Digital 5.1
Italian: Dolby Digital Mono
Thai: Dolby Digital 2.0
English: Dolby Digital Mono
English Mono = Downmix from 5.1
English SDH, German, Portuguese, Spanish, Cantonese, Korean, Mandarin (Traditional), Thai
50GB Blu-ray Disc
Single disc (1 BD)
Region free
Movie | 4.5 | |
Video | 3.0 | |
Audio | 3.0 | |
Extras | 3.5 | |
Overall | 4.5 |
When John Wayne rode the plains, life was pretty simple for a gunslinger. Heroes wore white hats and treated their women kindly, while villains sauntered into town in ten-gallons worth of black, their upper lips hardened into permanent sneers. The Law of the West was a balancing act between freedom and justice. Good was good, bad was bad, and moral ambiguity just plain hadn’t been invented yet. The reality of westward expansion, however, was a great deal less grounded in ethical certainties, and I’ve always thought the myth of the noble West was a ploy to help us feel better about what we did to the Native Americans. Hollywood embraced the western for its easy-to-script, good vs. evil, let’s get out there and show ‘em how Americans get ‘r done ethos, but after churning out title after title, the formula began to lose its potency. In the meantime, Europeans—who had never even been to the wild, wild West—were putting new spins on the genre and paying close attention to what might as well be called the Eastern. Yes, the samurai film. Inspired by the ronin, masterless swordsmen who plied their steel-edged trade for cold hard cash, Sergio Leone would create a different kind of western, where good was relative and bad was more than just an attitude. For the traditional Hollywood cowpoke tale, things were about to get ugly.
"I've never seen so many men wasted so badly."
MGM's 1080p/AVC-encoded transfer of The Good, the Bad, and the Ugly is by no means perfect, and it pales in comparison to Mondo's Italian release of the film, but for U.S. viewers, this is the best we're going to get until someone ponies up the cash for a new remaster. The Good, the Bad and the Ugly rides off through the desert in dusty Technicolor hues, with the pale blue sky looming overhead. Black levels are mostly strong, giving the film a brawny dimensional presence, and there only a few scenes that look mildly washed out or crushed. MGM's transfer, which is based off a 2002 restoration, is not nearly as crisp as Mondo's, but the stubble on leathery faces is rendered fairly clearly, and textures, like cloth, show fine detail, all without the telltale signs of edge-enhancement. I should note though, that in several of the close-ups, the actors seem to step a bit too close to the lens and the focus becomes uncharacteristically soft. Additionally, some of Leone's staple wide shots also have a mild fuzziness. As The Good, the Bad and the Ugly is over forty years old, the print does show some expected wear and tear. White specks dot the screen fairly frequently, two or three hairs get stuck on the print, and at the 1:29:39 mark some strange yellow stains mar the image for several seconds. The thin, nearly unnoticeable layer of grain also testifies to some post-production tweaking, mostly in the form of DNR, but the scrubbing isn't as egregious here as it is in some other waxier, more smeary titles, like Patton, for instance, or The Sixth Sense. Still, if any DNR is a deal-breaker for you, you might want to sit this one out. Here's to hoping that MGM acquires Mondo's more-pristine transfer sometime in the near future and brings it stateside.
While the film's visual presentation won me over at first glance, The Good, the Bad and the Ugly's DTS-HD MA 5.1 surround track is somewhat trickier to judge. During the restoration process, audio technicians took the original mono mix and expanded it to 5.1 channels, a difficult process considering that the sound effects and music were all contained on one track and were effectively inseparable. The end result is a listenable experience that nonetheless shows the dated tech of its source materials. Since all of the voices and sound effects were dubbed in after shooting, elements of the audio often have a canned and compressed range. Just listen to the wind whipping over the dust in the opening sequence, or the tinny patter as the Confederates pull out of town with their cannons in tow. High-end sounds, like the electric guitar in Ennio Morricone's influential score, are overly brash, and bass only gets a chance to rumble during cannon blasts and other sundry explosions. The track is expectedly front-heavy, with the rear channels used mostly for bleeding ambience and score. Voices are clear for the most part, though I often found myself cringing at some of the not-so-subtle ADR work. Still, I always feel a bit unfair putting older films to the test of my modern ears, and for its age and source materials, The Good, the Bad and the Ugly, while never wowing, sounds perfectly acceptable.
Commentary Tracks
Two commentaries are included on the disc, the first by film historian Richard Schickel, which
appeared on the DVD release, and the second by Christopher Frayling, writer of Spaghetti
Westerns: Cowboys and Europeans from Karl May to Sergio Leone. Both men are veritable
Leone experts, and each track is laden with insights, critical dissections, and anecdotes, with
some expected overlap. Frayling's is the livelier track, but both commentaries will prove
invaluable to spaghetti western fans.
Leone's West (SD, 19:55)
This retrospective look at Leone's westerns, specifically the so-called "Man With No Name Trilogy,"
features Clint Eastwood, Eli Wallach, producer Alberto Grimaldi, dubbing expert Mickey Knox, and
film historian Richard Schickel. A lot of the material discussed is also covered in the more
extensive commentary tracks, but those looking for a concentrated, less time consuming dose
will find this featurette highly informing. I was particularly amused by the fact that Clint
Eastwood brought most of his own costume to the set, including his black Levi jeans, gun belt,
and that distinctive sheepskin jacket.
The Leone Style (SD, 23:48)
Featuring the same cast of interviewees as the previous feature, "The Leone Style" is basically a
way to break the bonus materials into more digestible chunks. This morsel is naturally focused on
the look of Leone's films and how, with an almost child-like view of the world, he drew inspiration
from painting and opera.
The Man Who Lost the Civil War (SD, 14:24)
Many viewers might assume the Civil War skirmishes that surround the film's narrative are
fictional, but they were based on some actual battles fought on the far western front of the war.
This brief documentary is focused on Brigadier General Henry Hopkins Sibly, who had a grand
scheme to give the Confederacy an open route to California, and win the acknowledgement of
France and England.
Restructuring The Good, the Bad and the Ugly (SD, 11:09)
In 2002, MGM Technical Services and Triage Labs, a company that focuses on photo-chemical
restoration and obscure formats, set about restoring the extended version of the film, a daunting
task that was done almost completely by hand. This segment gives some insight into that
process.
Il Maestro: Ennio Morricone and The Good, the Bad and the Ugly
This segment is broken into two parts. The first, in standard definition and clocking in at 7:48, is
an interview with film music historian Jon Burlingame, who discusses Morricone's avante-guard
influences and the unique score of the film. Part two, which is about 12 minutes, is an audio-only
dissection by Jon Burlingame of Morricone's themes from The Good, the Bad and the
Ugly.
Deleted Scenes (SD, 10:19)
Included are the extended Tuco torture sequence and the Socorro sequence, which is pieced
together from still photography and shots from the French trailer for the film.
Trailers (SD, 3:21)
Includes the original theatrical trailer and the French trailer.
If you're even remotely a fan of westerns, there's no reason not to own The Good, the Bad and the Ugly. The film looks stellar on Blu-ray, and while the audio won't blow you away or anything, you'll be whistling Morricone's coyote-inspired theme for days. Highly Recommended.
Il Buono, il brutto, il cattivo
1966
DVD Packaging / Il Buono, il brutto, il cattivo
1966
Il Buono, il brutto, il cattivo
1966
Il buono, il brutto, il cattivo | Remastered
1966
Il buono, il brutto, il cattivo | 50th Anniversary Edition
1966
Deadpool Photobomb Series / Deadpool 2 Movie Cash
1966
Deadpool Slipcover
1966
Il buono, il brutto, il cattivo
1966
Il buono, il brutto, il cattivo | Remastered
1966
1966
Per un Pugno di Dollari
1964
1965
Standard Edition | C'era una volta il West 4K
1968
1956
1992
2005
2010
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1969
1946
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2015
1971
20th Anniversary Edition | Extended Cut
1990
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1969