To me, this movie is perfection.

It's entirely possible that sending the audience out feeling lousy was intentional

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

The film never slows down or bores, plunging from one harrowing sequence to the next.

I love Quentin Tarantino films. He admits to being heavily influenced by foreign movies, most especially the original Django. Both the Hateful Eight and Django Unchained show just how much Q.T. borrowed for these joints. I finally caught up with this 50+ year old gem and I recommend any fan of Clint Eastwood's spaghetti westerns watch as Franco Nero does an Italian version of a lone man against the world. Here he has plenty of enemies to battle and a beautiful damsel in distress to fight, mostly red necks and Mexicans. The ninety minute movie is a perfect solution to pass a dull evening.

A coffin-dragging gunslinger (Franco Nero) and a half-breed prostitute become embroiled in a bitter feud between a Klan of Southern racists and a band of Mexican Revolutionaries.Intended to capitalize on and rival the success of Sergio Leone's "A Fistful of Dollars", Corbucci's film is, like Leone's, considered to be a loose, unofficial adaptation of Akira Kurosawa's "Yojimbo". Indeed, many people have called this an homage to Leone, which may be only half right.In many ways, this film may have been even more influential than the Leone trilogy. There have since been many, many films that have borrowed the name Django, often with no connection whatsoever to the original film. The Eastwood character, on the other hand, was never blatantly ripped off as frequently.

A classic spaghetti western yarn which proved to be so popular that it spawned at least two dozen sequels, remakes and rip-offs all of which traded in on the mysterious central figure of Django, a very visual character with a wide-brimmed hat, grey scarf, and long black overcoat, who drags a coffin through the mud behind him. Plotwise, the film is nothing new but another remake of the Japanese classic YOJIMBO, already made once as A FISTFUL OF DOLLARS. The two remakes, although both within the genre, are very different movies. Whereas FISTFUL was a film with strong characterisation, witty and quotable dialogue and good acting, Django has none of that. Most of the characters aren't developed at all, aside from Franco Nero and a couple of the leads, the acting is merely acceptable, the dialogue unmemorable.Where director Sergio Corbucci comes into his own is with his unique visual style. Instead of employing the same camera tricks as the one and only Sergio Leone, Corbucci instead creates a colourful movie in which the brightly-clothed characters stand out against a grim backdrop of mud, scum and ruin. There are some truly memorable and classic images in this movie, whether it be Django using his machine-gun to mow down dozens of red-hooded religious fanatics (who seem to be an early version of the Ku Klux Klan!), or the standout finale which sees Django - his hands now useless, raw and bleeding - attempting to load and fire his gun at the hit squad which has come to destroy him, all set in a down-trodden cemetery.Each character has his own unique colours and appearance to distinguish him from the rest making for a very visual movie to watch. While the music is a bit over-the-top and a far cry from Ennio Morricone, the shoot-outs are staged in a no-nonsense manner with plenty of style. Franco Nero - after supporting parts in the likes of THE WILD, WILD, PLANET - gives a tough, impassive and spooky performance in the title role which established him as one of Italy's top actors for years to come. Angel Alvarez shines as the friendly bartender caught up in the mayhem, as does Loredana Nusciak as a prostitute who falls for Django after he saves her from a whipping. Meanwhile, Eduardo Fajardo makes for a truly despicable villain as he shoots Mexicans for sport in the back as they run away.What makes this film so memorable is the legendary violence - something which caused it to be banned outright in the UK (so what else is new?). The scene every body remembers is where a man gets his ear sliced off in bloody, unflinching detail which easily gives a similar moment in RESERVOIR DOGS a run for it's moment. Other "highlights" include a man being shot in the face, and Nero having both of his hands mercilessly beaten to a pulp. As the film progresses, so does the death toll, and sweeping views of valleys littered with corpses are largely impressive. Most of the cast ends up dead by the time the film ends. DJANGO is a highly watchable movie with plenty of style and visual splendour to recommend it, one of the big boys of the genre.

Django is a mysterious gun-fighting drifter who pulls a coffin behind him when he travels. He arrives at a Mexican border town and immediately rescues a woman called Maria from two sets of bad guys – a group of racist white thugs and a gang of Mexican bandits. He subsequently plays them off against one-and-other but it appears his ultimate motive is revenge…Django proved to be one of the most influential spaghetti westerns ever made. Its plot-line is pretty obviously borrowed from A Fistful of Dollars which had not long before been a big international hit. But it did differ in some ways from Sergio Leone's ground-breaking film. It ramped up the violence for one thing. It was very grisly for its time with scenes such as a man having his ear cut off and then being fed it (Quentin Tarantino paid homage to this in Reservoir Dogs), while it has lots of other bloody violence and a very high body count. Another way in which it was unique was in the sheer amorality and ugliness on display. The town where the action takes place is basically a mud bath, while the other key location is a pit of quick sand. It's a filthy and joyless world that these characters inhabit and it's one that seems to be populated by no actual good characters at all – the prostitutes are probably the most sympathetic beside Django, who is hardly a typical good guy in his underhand Machiavellian ways. Django was certainly a film that really subverted the old morals of the traditional American western more than any other film at the time.It was a role that made Franco Nero too. He was obviously required to effectively do a Clint Eastwood impersonation, which he does well in fairness. Unfortunately he is dubbed with a pretty monotone voice in the English language versions which is a shame. But perhaps even better is Loredana Nusciak who plays Maria. She was very good in this role and looked not unlike a red haired Janet Leigh which is hardly a bad thing. But maybe the man to give most credit to is director Sergio Corbucci. He would go on to make several spaghetti westerns and is often named as the best director of the genre outwith Leone - his later masterpiece The Great Silence is a film that must be seen by anyone who loves westerns in general. In Django he basically ensures that it has an energy and feel. There are little stylistic touches such as the fact that the KKK gang all wear red hoods, which was very striking and there are other classic iconic moments of the absurd that really make the movie memorable such as the coffin and the Gatling gun massacre. And then to top things off we have an amusing title song that unsurprisingly was lifted completely by Mr Homage himself Tarantino for his version Django Unchained. Go back and watch the original I say!