The Good, the Bad and the Ugly (1966, Extended Version) Free Downloads

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The Good, the Bad and the Ugly (1966, Extended Version)

Date: 13 March 2011 | Author: Quad | Views: 43

The Good, the Bad and the Ugly (1966, Extended Version) Free & Full Download

The Good, the Bad and the Ugly (1966, Extended Version)
BluRay Full 1:1 | ISO | 16:9 (1920 x 1080) | AVC @ 21748 Kbps | 02:58:41 | 45.82 GB
DTS-HD Master 5.1 @ 2738 Kbps / DTS 5.1 @ 768 Kbps / DD 2.0 @ 224 Kbps
Languages: English, French, Japanese, Hungarian, Turkish, Italian
Subtitles: English, Croatian, Czech, Danish, Dutch, Portuguese, Finnish, French, Greek, Hebrew, Hungarian, Japanese, Norwegian, Persian, Polish, Romanian, Slovenian, Swedish, Turkish, Estonian
Genre: Adventure, Western | IMDB Top 250 #4 | Italy, Spain, West Germany

Director: Sergio Leone
Writers: Luciano Vincenzoni (story), Sergio Leone (story), and 5 more credits »
Stars: Clint Eastwood, Eli Wallach and Lee Van Cleef

Blondie (The Good) is a professional gunslinger who is out trying to earn a few dollars. Angel Eyes (The Bad) is a hit man who always commits to a task and sees it through, as long as he is paid to do so. And Tuco (The Ugly) is a wanted outlaw trying to take care of his own hide. Tuco and Blondie share a partnership together making money off Tuco's bounty, but when Blondie unties the partnership, Tuco tries to hunt down Blondie. When Blondie and Tuco comes across a horse carriage loaded with dead bodies, they soon learn from the only survivor (Bill Carson) that he and a few other men have buried a stash of gold in a cemetery. Unfortunately Carson dies and Tuco only finds out the name of the cemetery, while Blondie finds out the name on the grave. Now the two must keep each other alive in order to find the gold. Angel Eyes (who had been looking for Bill Carson) discovers that Tuco and Blondie meet with Carson and knows they know the location of the gold...

IMDB 9.0/10 (179,662 votes) Top 250 #4

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Note! All screenshots are enlargable!

Arguable one of the best Westerns ever made, “The Good, The Bad and The Ugly” is Leone’s first masterpiece. Having invented the spaghetti-western a few years prior by virtually copying Akira Kurosawa’s “Yojimbo” frame by frame as “A Fistful of Dollars” to such a degree that Toho sued him, Leone used the spaghetti-western as a form to attack the, in Leone’s opinion, dominating morality of American Puritanism.

In order to do so, Leone re-invited the genre. By re-examination the last days of the “West”, an American torn apart by civil war, about to be civilized by the railroad, his protagonist was “the man without a name”, a mythical figure raised by the American spirit, but without the crippling morality: It was in “A Fistful of Dollars” that we saw a gun fired and the bullet hitting its target in the same frame, a presentation originally forbidden by MPAA. The fact that Eastwood's character ("The Man without a Name") is a criminal, who robs and lies, and yet is the hero, with whom we sympathize, marked a significant change in the paradigm in the Western. The characters in Leone’s Westerns are selfish and completely without any moral: Sentenza shoots Stevens and his son in cold blood, then takes his money and goes and kills Baker, and “Joe” (Eastwood) backstabs Tuco for no reason.

Re-inventing the genre, Leone re-invented the imagery. “The Good, The Bad and The Ugly” is full of almost surreal imagery: the ghost towns, the lonely house in the middle of nowhere, the huge cemeteries, the trenches: all noting upon the films central motif: Death. Where lonely houses or settlements aren’t unusual in Westerns, they are normally surrounded by lifestock or fields: In the Westerns of Leone, they are surrounded by dry land. Notice the opening sequence: broken down wagons, broken barrels, torn posters – all suggesting decay and an end. We are likewise constantly introduced to imagery of noses, guns, cemeteries and dead people. It if wasn't for the films boyish humour, this would very well be the most depressing and bleakest Western by Leone.

As an extension of re-inventing the genre, Leone also re-invented frame compositions: not only transitions between extreme close-ups and extreme long shots, but he introduced the now iconographic Leone close up (EECU – Eyes Only), on which Eastwood once joked, “in those days I was such a bad actor, they only shot by eyes.” The cinematography of Colli is breathtaking in its use of scope and how it composes in space. Another Leone element is snailcrawling pace: All his Westerns are incredible slow. Where the tendency in American Westerns moved towards a faster pace and more graphical killings (especially by Sam Peckinpah), Leone did the exact opposite. His Westerns spends eons of time, before a sudden shooting.

As revisionism, “The Good, The Bad and The Ugly” stands directly opposite Leone’s other seminal Western, “Once Upon a Time in the West”, with its cynical view on both the genre and the west, full of humour and pathos. Where “Once Upon a Time in the West” is serious and full of drama, “The Good, The Bad and The Ugly” has the same tone as films like “Gunga-Din”, full of boyish action and often corny humour: Actually, there are many similarities between “Gunga-Din” and “The Good, The Bad and The Ugly”. Nevertheless Leone is able to set a serious tone by his motif of decay – and present the most impressive composed show-down in any Western.

But this is not a Western.

I mean, it is, technically--but in spirit? This, in the words of 2Pac Shakur, "ain't nothin' but a gangsta party." It's a masterful blend of elegant history lesson AND pure, emphatic loogie.
Hocked upon the unsuspecting world by Sergio Leone, seemingly filmed in nothing but varying shades of red, and bringing together a mind boggling array of disparate plot threads, this movie is all about satisfaction.
The feeling one gets from this movie, the raw coldcock Leone was legendary for delivering, is heightened by the fact that this is the third in a series--not only does it work and build on its predecessors, it all but eliminates memories of their greatness.

Lesser films have a habit of dissipitating in the face of "The Good, the Bad, and the Ugly."
Now, hey, I'm not one to fawn (Exception: Spike Lee or early Scorsese...I am simply helpless when it comes to whizzy pretension, and I won't even deny it), but this film (and the rest of Leone's body of work, for that matter) works best on the level of critical piss extractor.
I really can say nothing bad. Perfection.
This and "Once Upon a Time in the West" are the first Westerns that ever really did it for me--they WORK, like the best movies do. Most directors seem content to let each shot build on the last, culminating in a minor climax.
"The Good, the Bad, and the Ugly" goes for the eye rolling super-orgasm, sweat oozing from every frame. How does it hit the cinematic G spot so forcefully?

Simple-let each scene play out, slowly and artfully. If you have an attention span, you WILL be rewarded. This is the kind of movie you need to stick around for, pay attention to. Don't move--don't go to refill your cup with premium ale, do not pause to light another blunt, and, unless your bladder is ready to bust its bolts in a frenzied blast of urine, do not get up to piss.

Just relax. Calm down. Enjoy true pop art.

The best thing about Leone is that he doesn't go for the simple payoff--he keeps the revelations coming at a steady clip, but always saves just a knick here and a knack there up his sleeve. Even in the end, everything is not exactly clear--you feel dazed, light headed.
The feeling is so much more pure than that which you get from most movies. Most of it adds up, but there's a little bit of ambiguity to keep your soul movin' to the groove these cats are bustin'.
The whole plot summary deal doesn't work so well for this movie, since the film's success is based upon vibe and delivery. Here's a touch: Three enemies have to find a way to fuck each other over while maintaining a front of working together in search of some gold. Sounds simple, right?
Well, yeah, but Civil War overtones and an all around shades-of-gray emotional approach keep the madness popping and save this from being just an above average oater.

That, and the attitude. None of the characters give a fuck for anything but the moolah, and there's no pretense of morals or integrity. That's why I like this movie best--honor, the old fashioned sense, is not really something I can relate to or even look up to.

There's no honor in real life. Westerns like to pretend there is.

But, y'know, this is not like most Westerns.

Interesting Facts
• “The Good, the Bad and the Ugly” was the last western movie that Clint Eastwood and Sergio Leone made together. Apparently, their relationship became very strained while Clint Eastwood was doing voiceovers for the film in post-production. Director Leone wanted to make changes to the original script that was used to shoot the movie, while Eastwood wanted to stick as close as possible to the original script. The tension between them became so great that they never worked together again.
• The cast for “The Good, the Bad and the Ugly” was literally from around the world. The only real English speakers were the three main stars – Clint Eastwood, Lee Van Cleef and Eli Wallach. For the Italian release of the movie, these main star’s voices were dubbed in Italian. For the American release of the film, the other actor’s voices were dubbed.
• The Italian name of this movie is “Il buono, il brutto, il cattivo.” This literally translates in English as “The good, the ugly and the bad” which is slightly different from the English language title.
• If you pay attention, you will notice that there is no dialog for the first 10 1/2 minutes of the film.

Edition Details:
• Audio Commentary by Richard Schickel
• Leone's West (19:53)
• The Leone's Style (27:43)
• The Man who Lost the Civil War (14:22)
• Reconstructing 'The good, the bad, the ugly' (11:08)
• Il Maestro: Ennio Morricone and 'The good, the bad, the ugly'parts 1 + 2 (7:48)
• Deleted scenes
• Extended Toco torture scene (7:15)
• The Socorro sequence (3:02 reconstructed)
• Unrestored US trailer IN HD! (3:20)

Disk Info

DISC INFO:

Disc Title: Aynil _ The Good, The Bad a#479A
Disc Size: 47,730,234,476 bytes
Protection: AACS
BD-Java: Yes
BDInfo: 0.5.6

PLAYLIST REPORT:

Name: 00001.MPLS
Length: 2:58:41 (h:m:s)
Size: 39,051,915,648 bytes
Total Bitrate: 29.14 Mbps

(*) Indicates included stream hidden by this playlist.

VIDEO:

Codec Bitrate Description
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MPEG-4 AVC Video 21748 kbps 1080p / 23.976 fps / 16:9 / High Profile 4.1

AUDIO:

Codec Language Bitrate Description
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DTS Audio French 768 kbps 5.1 / 48 kHz / 768 kbps / 24-bit
* DTS Audio Japanese 768 kbps 5.1 / 48 kHz / 768 kbps / 24-bit
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Dolby Digital Audio English 224 kbps 2.0 / 48 kHz / 224 kbps / DN -4dB
Dolby Digital Audio Hungarian 224 kbps 2.0 / 48 kHz / 224 kbps / DN -4dB
Dolby Digital Audio Italian 224 kbps 2.0 / 48 kHz / 224 kbps / DN -4dB
Dolby Digital Audio Turkish 224 kbps 2.0 / 48 kHz / 224 kbps / DN -4dB

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Information