Watch Django For Free

just watch it!

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

I first discovered this movie a while back, after seeing Quentin Tarantino's "Django Unchained". I loved DU, so when I heard there was more where it came from, I got really exited. After seeing the film, i must say that it was quite enjoyable and worth checking out. Franco Nero gives a great performance as Django, the bad-ass coffin-dragger. It's really different from Jamie Foxx's performance in DU, but that just makes it more interesting. It's nice to see that Tarantino didn't completely remake the original.The music is also great, and gives the film a great "feel". I wasn't aware that the music in "Django Unchained" was the same as in this one. So it came as a big surprise when the song Django popped up in the intro (which by the way, the intro is awesome and sets the mood perfectly). The music stays great throughout the film, and the songs never feel out of place.Something I was surprised by, was a particular scene in the movie. I wont spoil it, but I will say that the scene actually kinda shocked me. I can handle violent content, but i was just so surprised that they would allow it in 1966. Thats probably why it was banned in multiple countries.In conclusion, you should watch this film if you liked "Django Unchained". It's quite interesting seeing how much movies like these have changed, and how different from DU it is. But it's still very entertaining, and it helps that it has a great story. Check it out if you like westerns.

Going into this movie at first I thinking how this movie was one of Quentin Tarantino's favorite films and how much it must of inspired him- the movie it self was surprisingly good, more then good it was brilliant actually- it drags you along with the man character- every second.I really didn't see how it was considered the most violent film of its time, yeah it has action to drive the story along but it was mainly done, leaving you thinking what will happen next nearing the end of the movie. the ending is what makes the movie for me it did not end too soon or too late it was just right. Definitely watch this great western."You can clean up the mess, but don't touch my coffin..."

Sergio Corbucci's third Spaghetti western "Django" has spawned at least thirty imitations. Indisputably, this ranks as Franco Nero's most memorable role, though he acquitted himself admirably in his other Corbucci Spaghettis, most remarkably "The Mercenary." Indeed, Nero cuts a striking figure decked out in Union blue, with a Gothic-looking, wooden coffin that he drags behind him wherever he walks. Django is a wizard with a six-gun. A little over half an hour into the action, Django produces a deadly machine gun from the coffin and decimates Major Jackson's ruffians. Luis Bacalov's orchestral music is as good as anything that Ennio Morricone ever composed for Sergio Leone. The thematic title song resembles something you'd hear in a 1950s era western where title tunes seemed mandatory. Rocky Roberts warbles the tune that provides biographical information about poor Django, his long-lost love, and the likelihood sunshine will follow showers. Nobody escapes fate in "Django." Women are whipped savagely by merciless brutes. Men are beaten, mutilated, and often gunned down in cold blood. One has to eat his own ear after a Mexican slices it off and jams it in his mouth. Murder seems like a reflex action. At least, as many as nine gunmen bite the dust before eight minutes have elapsed. Trust is a commodity rarely shared, unless Django is doing the sharing. Essentially, Sergio Corbucci and his brother Bruno penned the screenplay, with three other scribes, Franco Rossetti, José Gutiérrez Maesso, and Piero Vivarelli. "Django" pits racist Americans against the greedy Mexicans searching for gold to buy an arsenal of guns. Major Jackson rides herd over the Americans, while Hugo dresses like a general at the head of his make-shift army of outlaws. Django, Major Jackson, and General Hugo constitute the chief characters in this revenge-driven drama.After the opening credits sequence with our hero trudging through the mud, "Django" opens at a rope bridge over a quicksand pit at the border. Four Mexicans tie up a white woman, Maria (Loredana Nusciak of "Gladiators 7"), before they administer lashes with a bullwhip. Suddenly, as the Mexican is about to deliver the twelfth lash, five hombres with red scarves drop the Hispanics in a hail of gunfire. They cut the woman loose, and they plan to dispose of her anyway. Django guns them down before they can hurt her. One survives, and Django shoots him. The poor wretch vanishes in a quicksand pit. Django escorts Maria to town. He enters a saloon that doubles as a bordello. Nathaniel the Bartender (Ángel Álvarez of "Navajo Joe") initially refuses to let Maria spend the night. Django intervenes and pays for her room. Nathaniel describes the town as "neutral." He explains they must try to please both Major Jackson's Southerners and Hugo's banditos. "But for the privilege of staying alive we sure pay dearly." Meantime, Major Jackson (Eduardo Fajardo of "The Mercenary") abhors Mexicans. When we first see him, he is shooting Mexican peasants down in cold blood. He has them lined up in a stable and releases one at the time to run. The sadistic Jackson waits until the Mexicans have scrambled to comparative safety before he brings them down with his long-barreled Winchester repeating rifle. At the bar, Jackson confronts Django with four pistoleros. Django guns them down in heartbeat, even Ringo (José Terrón of "For A Few Dollars More") who stood behind him! Nevertheless, Django doesn't shoot Jackson. Instead, he lets Jackson live and challenges him to return with all of his men.Eventually, when Jackson returns with his army, Django pulls out a machine gun and mows them down. Jackson flees in humiliation. He falls off his horse and gets mud smeared over his face. Ironically, he is no longer white-skinned, the epitome of everybody he hates. Later, Django joins forces with General Hugo Rodriguez. They know each other, and Hugo knows Django is a desperado. The General (José Bódalo of "Companeros") requires money for guns so he can win the revolution. Django convinces him to rob the Major of his fortune and wipe out the Mexican soldiers with whom the Southerner is working. Afterward, Hugo refuses to divide the loot up with Django. Django insists Hugo hand him his share. Hugo stonewalls Django. Instead, he shows Django where the gold will be held. Later that night, Django fools everybody into believing that he is having sex with a beautiful girl while he is lugging his coffin to the room where the gold is stored. This has got to be the most unwieldy thing in this western. Django has to climb and cross roofs with the coffin in his clutches lest it give him away. This wrinkle in the plot resembles the last quarter hour of "For A Few Dollars More." Django rigs up a booby trap toward the end when he swipes the gold. He fixes the machine gun to pour out a burst of fire. Of course, the machine gun couldn't have fired as many rounds as the one in "Django." After Hugo has his men smash Django's hands, he rides into an ambush courtesy of Major Jackson and the Mexican cavalry. The final shoot-out at the cemetery is memorable.Sergio Corbucci did more things than Sergio Leone ever dreamed of with the American western. Corbucci borrows a similar script element from Leone when the hero is beaten savagely. Although the Clint Eastwood character suffered damage over most of his body, the Mexicans confine themselves to smashing Django's hands. Despite having his hands broken, our resourceful hero survives the fray. Indeed, this is no picnic for our hero who is forged in a fire. After the robbery, the plot veers toward a "For A Few Dollars More" scene. Jackson's men look truly distinctive in their scarlet hoods. "Django" qualifies as a classic Spaghetti western!

Coming back to the original, Django after seeing the latest Tarantino I was struck by two things. One, just how fabulous this is. I thought it might look a little shabby after the big screen extravaganza but not a bit of it, indeed it struck me that my last viewing may have been on some crap video copy, for this glows with its majestic scenery and its gritty close- ups. The other thing was that I wasn't sure that Franco Nero would be adequate substitute for Christoph Waltz. How silly, sure Waltz is on cracking good form spouting Tarantino's lively and sharp dialogue but Nero doesn't even need to speak. For a third of the film, what with his collar and his hat he only shows about a third of his face and yet he commands our attention and that of everyone else in the film. Near perfect, great film that I just might watch again right now.