Django

This cult movie centers on Django(Franco Nero), a stranger man without identity , at the beginning he saves a woman (Loredana Nusciak). Later on , he is going to a village dragging a coffin behind him . The little town is located in the US-Mexican border . There he will take on two rivals , a Yankee group (leading Eduardo Fajardo) and a Mexican bunch (commanding Jose Bodalo). The colonel Jackson band is formed by a type of Ku-Klux-Klan hoodlums and he wears a red foulard . Django befriends the owner of the saloon (Angel Alvarez , a character-alike to Silvanito from ¨Fistful of dollars¨). Django seeks vengeance and go after the dastardly nasties because of his wife lies into a tomb captioning Mercedes Zaro (1839-1869) .

It is an exciting western co-produced by Italy/Spain with breathtaking showdown between the starring and his enemies . The highlights of the film are the confrontation at the village full of mud and dirtiness , between the baddies hooded with a red scarf and Django wielding a machine gun (though with anachronism , because being actually a 'Maxim model' that was made in 1880 and isn't utilized the usual 'Gatlin' machine-gun) and there he does a real massacre . Besides , the attack at fort where Django and henchmen cause a cruel slaughter , and , of course , the final showdown at the graveyard . Django is named as homage to ¨Django Reinhardt¨ , the famous American musician who introduced his particular guitar . There are special remembrances to Leone's Westerns , thus: ¨Fistful of dollars¨ about the facing off between two bands and ¨The good, ugly and evil¨ regarding the cemetery duel . The film blends violence , blood , shootouts and it is fast moving except for the saloon's episode that's a little bit slow-moving . There are many technicians and assistants who will have a long career , as cameraman Enzo Barboni or E.B.Clucher (filmmaker of ¨Trinity¨ series with Terence Hill , Bud Spencer) who does an excellent photography with barren outdoors , dirty landscapes under a glimmer sun and foggy clouds , shot on outskirts of Madrid in La Pedriza , Torremocha Del Jarama and Colmenar Viejo . The musician Luis Enrique Bacalov (author of ¨The Postman and Pablo Neruda¨ which won an Oscar and composed lots of Spaghetti) creates a good soundtrack with Ennio Morricone influence . In addition , assistant direction by Ruggiero Deodato (Cannibal Holocaust). The picture was no authorized to minor 18 years and prohibited in various countries for its violence , for example , in England , but in France , Germany was a real hit and in Japan there is one ¨Fondazione Django¨ too . Sergio Corbucci direction is good ; after that , he would make several Spaghetti classics : ¨The great silence¨, ¨Compañeros¨ and ¨the Mercenary¨ and other considerable Paella Westerns : ¨Hellbenders¨, ¨Far west story¨ , ¨Johnny Oro¨ and ¨Navajo Joe¨.

It is followed by an official sequel titled ¨Django strikes again (1987)¨ by Nello Rossati alias Ted Archer with Franco Nero who has left his previous life of violence in favor of a existence as monk , though returns when his daughter is kidnapped . Furthermore, numerous unofficial sequels , rip-offs , and copies , such as : ¨Django the last killer (67)¨ by Giuseppe Vari with George Eastman ; Django dares Sartana¨ (69) by Pascuale Squitieri ; Django Il Bastardo¨(1969) by Sergi Garrone with Anthony Steffen , ¨Django shoots first (1974)¨ by Alberto De Martino with Glen Saxon and Evelyn Stewart.

Hello y'all. Just would like to add my own little critique of this movie.

Django was probably the first Euro western i'd seen outside of the familiar Leone territory, and, at first i was a little dissapointed. So i watched it again, and again. Then it dawned on me just how cool it was, having been used to the choreographed pyrotechnics of much greater films(ie the leone dollars movies etc) this was a dirty, cold,bitter little movie where nobody really comes out on top, especially the movies protagonist. Yeah, i know he returned to kill and strike again, but this one stands alongside il grande silencio and Keoma as a really good example of a genre theme that would eventually be done to death. So what if it borrows from Leone? Don't forget where he borrowed from in the first place. Anyway, i would just like to say to anyone that has not seen this movie, give it a chance. One final note: in spite of our desensetisation to violence, this is still a stomach churning endeavour, with a body count like a hot day in france, and a sadistic bent that would make peter sutcliffe run for the bathroom, Django reaches parts that only a fistfull of broken fingers can!

Franco Nero is Django, a man dragging a coffin behind him, seeking vengeance for the wrongs dealt to him and his loved one in the Western staple. When we first meet him he saves a hybrid girl from being horse-whipped. But which side is he playing for, and where do his loyalties really lie? Very enjoyable and the theme song is great, but avoid the dubbed version I implore you, as it's one of the worst one I've ever heard. Perhaps not as well known or as good as "the Man with No Name" trilogy, but well worth seeing none the less.

My Grade: B

Blue Underground DVD Extras: Part of BU's Spaghetti Western Collection. "Django- The One and Only" (13 minute documentary); Poster & Stills gallery; Talent Bios for Sergio Corbucci and Franco Nero; Theatrical Trailer (I have this film released by Anchor Bay as well, and while the BU version is superior, I'm keeping that one too because it has a nifty Django shoot out game and came paired with "Django Strikes Again")

Easter Eggs: Highlight the coffin for Trailers of "Django Kill!", "Run, Man, Run", and "A Man called Blade"

There is a lot of noise and attention surrounding this movie, including how violent and macabre it is...well, it definitely lives up to the hype. Spaghetti Western fans rank this film right up there with Leone's trilogy, and I can see why. It should be noted, however, that while this movie was violent by 1960s standards, it's pretty standard fare for today, so don't go into this expecting to be shocked. Also, the production values are low, they look even lower than the Leone movies, so don't go expecting pricy Hollywood sets and props. Finally, the English dubbing is just atrocious. So why is this movie still considered special? Simply consider it for its place in time, and remember that this was a couple years before the Wild Bunch and Bonnie and Clyde, and no doubt influenced those films to some degree. If you can take your action movies with a grain of salt and give this one a chance, you'll be surprised!

Django is the mysterious Civil War veteran, all decked out in a black trenchcoat who arrives at a Tex/Mex bordertown horseless, and dragging only a mysterious coffin through the mud. The town is alternately controlled by two warring gangs, one run by Major Jackson, a former Confederate soldier now commanding a cult of red-hooded Klan-like fanatics! Their goal seems to be to wipe out as many Mexicans as possible and grab all the money and gold they can. Their enemies, the Mexican gang, may not necessarily be racists but they are surely evil. Django, the dark stranger, walks right into the middle of this feud and the bullets start flying fast and furious!

Which side will he choose? Why does he refuse to shoot the evil Major Jackson the first time he has the chance? Why does he think he can take on a gang of 50 of Jackson's men single-handedly? And just what is inside that coffin of his???

At least in Europe, this other spaghetti western variation of Kurosawa's Yojimbo was probably even more influential than the film that created the genre, A Fistful of Dollars, with countless imitations, rip-offs, sequels, remakes. The title hero is again very different from traditional Western heroes, but this time he is a much more mystical (almost religious) figure than even the man with no name, and the places he goes to are even dirtier and more desperate and downtrodden than any place we would find in a Leone Western.

The impressive opening sequence shows Django dragging a coffin behind him through a muddy and featureless landscape, accompanied by Bacalov's title song (not Morricone, for a change), heading for his first battle. The coffin, his dark coat, and the mystique around him make him appear like an angel of death, invoking associations with the Red Death character in Roger Corman's Masque of the Red Death. Django is not quite as untouchable and supernatural, but the body count in his trace is comparable.