The only benefit of Il Grande Silenzioās dub is that you hear Frank Wolff and Vonetta Mcgeeās own voices.
And did you notice the English track puts music where there isnāt supposed to be? The part where the sheriff and Tigrero encounter the outlaws.
Agreed, but I think the Italian version is far better overall.
No I never noticed that, Iāll keep an eye out for it next time.
I will give it a try with the Italian sound and English subs. But the subtitles distracts from the movie that is watched i have noticed. When I started watching movies without (dutch) subtitles as is common in our country I noticed more details and scenery.
maybe i should learn Italian 
Iāve studied Italian for a while. I suppose my long term goal is to comfortably watch an unsubbed Italian film.
Just watched this again (in the Italian dub) ā Iāve seen it many times before but not for a few years. I am more convinced than ever that this is Sergio Corbucciās best film.
The first and foremost quality is its screenplay ā tremendously focused and fast-moving. Even with gratuitous exploitation scenes like the mud-wrestling, and Djangoās rather laboured real-time stealing of the gold, the film clocks in at just over 90 minutes. The story develops in unexpected ways ā Django is more interested in Jacksonās gold, which will buy him a new life, than in killing the man himself, and he rejects Maria because heās afraid of the consequences for her. The film has a great gothic atmosphere, with its ghost town and graveyard and Djangoās sinister coffin. The characters are perfectly cast. Franco Nero has great presence in a similar star-making role to Clint Eastwoodās in A Fistful of Dollars. Loredana Nusciakās beautiful face is full of character and feeling. Eduardo Fajardo is wonderfully slimy as the murderous racist villain.
On a technical level, Giancarlo Simiās superb sets and costumes make a virtue of the low budget. The quagmire of the main street makes the Elios set look like an actual derelict town, in contrast to its artificial air in many other movies (This looks like it was inspired by The Seven Samurai, which if I remember right has a similar fallen tree in the middle of its muddy village street). The bleak settings and drab costumes offset the scarlet hoods and scarves to stunning effect, and the crude design of the hoods themselves turns Jacksonās men into demented scarecrows.
The editing (by Nino Baragli, Leoneās editor of choice) is excellent and the action scenes superbly choreographed. In the saloon shootout, notice how the man by the door falls out of one shot and into the next, making that sequence a single fluid moment. The camera work is sometimes a bit shaky, especially when zoomed in, but full of great shots ā Djangoās encounter with the Mexicans at the cemetery, tinged with the last rays of the setting sun; the wagon returning to the town at dusk under a full moon; the subjective camera views of the arrival at Fort Charriba and especially the fight between Django and Ricardo.
The music by Luis Enriquez Bacalov is great and adds to the atmosphere ā particularly the early scenes in the saloon (āFruscii Notturniā) and Jacksonās target practice (āLa Corsaā).
I havenāt seen Corbucciās first westerns, Red Pastures and Massacre at the Grand Canyon, but by all accounts they follow the conventional American form. Django seems to come from nowhere, a work of genius, inspiring the best from everyone involved. In terms of quality, I think only The Hellbenders comes close to it in the directorās later work. The Great Silence is a tremendous film but much more flawed, both technically and structurally. A Professional Gun is spectacular but shallow and Companeros is an undisciplined re-hash of it. (On the subject of these Zapata films, itās interesting that the Mexicans in Django ā who describe themselves explicitly as revolutionaries in the Italian version ā are portrayed as sadistic bandits,of no political interest whatsoever.)
I still remember the day I first saw Django, on VHS at a friendās house in the early 80s. About 10 seconds into the title sequence I thought: āI am going to love this film.ā I still think itās a masterpiece today.
CjaDjango! 
Django is an amazing film that has influenced many works of art and fiction today, such as paving the way for āāDjango Unchainedāā, or a certain character in the episode āāMushroom Sambaāā of Cowboy Bebop. It has some of the most amazing action scenes of its time, and anyone who hasnāt seen this classic needs to ASAP.
Extranjero, your thoughts about Django and Corbucci are quite interesting, but differ from mine in some aspects.
Yes, the saloon shoot-out is excellently filmed and edited, but the 3 big actions scenes are not, they are mostly disappointing for me, the editing is often lame, and the film suffers from that. Similar btw to FoD, in which Leone created this SW kind of quickly edited shootouts, but also fails to find a concept which make the larger action scenes work.
Leone did not really knew how to make them work, as later Giu la testa still showed, but Corbucci mastered this with his later editor Eugenio Alabiso, and especially Il mercenario and Companeros have a brilliance for these bigger action scenes, you donāt find in any other Spag.
It may sound insolent, but I wish I could re-edit the shoot-out with Jacksonās clan men, in which Django reveals the secret of his coffin, which is conceptually brilliant.
Red Pastures and Massacre at the Grand Canyon are 2 English titles for the same film, and Corbucci himself said he shot only a few scenes as hired hand for that one, and actually the film does not look for a second like a Corbucci western, but we donāt know for sure.
Django was indeed a big, big step forwards for Corbucci, but the 2 Spags he made before Django show that he had already the potential.
Here my views differ completely.
The Hellbenders is a forgettable film for me, and I think Django could have become a perfect film if made later in his career, if he had filmed this screenplay in 1967 or 1968, with a slightly bigger budget, with the experience he garnered especially with Navajo Joe, another āhired hand Spagā.
The Great Silence benefits from this experience, and is therefore for me clearly superior to Django, which is for me the flawed one of these 2, and Il mercenario was then a bold step in a different direction.
You think Il mercenario is shallow, I think it is a complex film, even his best (but with The Great Silence being on the same level), one which showed to what genre innnovations the SW was able.
In his 3 best westerns (and Django is of course one of them) Corbucci did things which were ahead of its time, alas he then stopped soon making good films at all, and after the partly brilliantly filmed Companeros, he lost by an by even any of the skills he had developed in the second half of the 60s.
Great piece Stanton, Cox would be green with envy. 
Django (1966 / Sergio Corbucci)
Watched the German BluRay, which offers neither decent audio (watched it in German) nor video. In fact it looks rather atrocious in many parts and sounds just as bad in others. But some parts are okay. Oh well, at some point I shall get my hands on one of these elusive Arrow discs, wondering how pristine that new transfer is. By the way what stuck with me the most: Interesting that the movie already used the El Chuncho theme, anyone else find that interesting? Or lame on part of Damiani to recycle it? Aside from that, after many many years of not seeing it, it was quite refreshing to get a new take on the film after so much distance. Django isā¦ donāt shoot me ā¦ not the greatest movie, not by a long shot. But it is full of cool lines, money shots and iconography. No wonder it had such an impact, it delivered brutal violence in an almost supernatural way - and it was kinda cool. A rowdy action flick with violent takedowns and cardboard bad guys, a mystical stranger and memorable music. And the main guy real was an anti-hero, in the true sense. Even when he tries to do good, he fails. It is a sinister and discouraging movie, almost fascinating by itself that it got made this way. Another interesting thing is that IMDb says Ruggero Deodato is uncredited while in fact I spotted him in the opening credits.
Good analysis of the movie. I feel the opening song and imagery of the mysterious stranger was so well done that what followed had to be a letdown. The ending is tremendous and really depressing. But the rest is kind of disjointed. The middle part with the wagon and the robbery feels like a whole other movie.
But itās Corbucci so you know heās going to take chances which can be really cool and really sloppy. But Iāll take that any day over a boring, typical American Western.
Yeah, they really didnāt seem to care about mixing up the artwork back in the day! 
Btw, I there is a topic about bad and funny sw cover art. Seems just that some of the pics donāt work anymore as itās quite old topic.
Thanks for that. Just added two funny ones from my own collection.
Are you sure with the ending youāre not thinking of Corbucciās other classic Il Grande Silenzio (The Great Silence)? That is a truly nihilistic ending. The ending of Django is definitely ant-climatic to an extent, but is still satisfying.
And yes, the middle is a little unusual and all of a sudden goes in a different direction, but given Djangoās plans, it does make sense.
The key to really enjoying Django, is watching it in the original Italian language with properly translated subtitles. I canāt even begin to number the countless reviews Iāve seen of how incredibly aweful the English dub is, and how wooden as well.
That fans are really praising the original Italian is really something as it shows how a fabulous story can be ruined when the language isnāt translated into another properly.
that is true. The German one is a lot better, but still quite a step away from the original script
The English dubbing also destroys Djangoās mystique. He has a high pitched voice.
No both movies have depressing endings. Great Silence is striking while Django is like a limp to the finish.
