Also cropped from top and bottom, as I already noticed prior to releasing. Too bad.
Is the Brazilian DVD the only uncut release? It’s a pity I didn’t get a copy before it went OOP.
Interestingly, in Three Crosses Not to Die a.k.a. No Graves on Boot Hill there’s a fist fight scene (not the typical saloon brawl) in which at least five of them appear.
The 2,35:1 screenshot below, that’s from Alleluja & Sartana Are Sons… Sons of God.
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So the fourth Hawkins henchman, in the background with Artemio Antonini, is Sergio Scarchilli!
And the third Ukmar from left to right in Carlos’ post is Sergio and not Giancarlo (who appears first in the above-mentioned Three Crosses Not to Die sequence).
The sixth Ukmar (Bruno), the fifth Dell’Acqua (?), the fourth Scarchilli (Rodolfo), the third Zamperla (Renato)… Things that drive people mad! 
So he is! Sergio also is one of Domingo’s officers partying, with a couple of nice closeups, in Blindman.[quote=“JonathanCorbett, post:232, topic:560”]
The sixth Ukmar (Bruno)
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Bruno is credited as master of arms in 3 Musketeers of the West. I think there may be a couple of possibilities amongst the pole hopper gang.
We now have a full picture of the six Ukmar brothers, I have positively identified Bruno checking four movies, 1964 to 1967, in which he’s regularly credited: Maciste, gladiatore di Sparta (pic 3), Le spie amano i fiori (pic 5), Come rubammo… (pics 1 & 2, also with Rodolfo Scarchilli) and Professionisti per un massacro (pic 4).
With Salvatore Borgese in The Spy Who Loved Flowers
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Whoa! Impressive! At first glance there’s not much of a family resemblance. He has a more mature look, is he the eldest? and I believe this actor has a fairly significant role in 3 Musketeers. Maybe when you start your Black Beard thread, it can be used to expand on this type of research?
Yes, I noticed that, too.
I really think so. As far as I know Sergio, Franco and Giancarlo were born in 1935, 1936 and 1938 respectively, and I remember reading in an old interview with Giancarlo that he worked on Totò a colori (1952) with his older brothers Bruno and Franco.
Other SWs in which Bruno is credited as master of arms are Days of Violence, The Great Silence, Sartana’s Here… Trade Your Pistol for a Coffin and Roy Colt and Winchester Jack.
Yes, that’s a good idea.
Where does one even begin? Anthony Steffen ( Django/Ghost of Django/ Avenger who brings death) gives the darkest, most action packed, ultra violent, and haunting performance of his career. From the opening scene to the final showdown , nowhere is “Django” amusing, or romantic. He never cracks a smile, and shows no concern for making friends or romantic interests. (Perhaps it’s the black hat, black/dark unshaven beard, and nearly all black outfit, or perhaps it’s because “Django” is rarely seen outside amongst to many people at one time.
“Django” is out for revenge against those who betrayed his regiment during the war.( A flashback scene shows us “Django’s” motives) leading to a final showdown. (Quick, to the point, flawless). A wonderful achievement in the macabre, and haunting, both from a visual standpoint, a well as it’s musical score. This film screams vengeance at the top of its lungs. High Recommended.
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I like your passion about the movie, I must give it another shot. At first I thought it was boring, but I have to admit at that time I had not seen many sw.
Yes, let me try and explain it this way. I found John Carpenter’s Halloween ( The first Halloween film of the Halloween franchise ) a true masterpiece of the horror genre, one I could watch once a every few years or so and it never get’s old. When I finally saw Stranger’s Gundown,( earlier this week) I immediately thought of the Halloween franchise. Heck their is even a scene (Halloween three or four) where some of the townsfolk go looking for Michael, which reminded me of the scene where some of the townsfolk go looking for “Django”. Also, both Myers and Django seem both human yet indestructible at the same time. Now every time I watch a “slasher” flick, I’m sure I’ll think of “the Strangers Gundown” in one way or another. I could only imagine sitting in a theater in 1969 and seeing “The Stranger’s Gundown”. Much like the Halloween franchise ( with the exception of Halloween: season of the witch) I find this type of spaghetti western to never get old, and always be exciting and suspenseful as the first time I saw it.
Did they… make a game out of this…? Or is this just a weird Dvd / Vhs cover.
Having never owned the VCI version of this, I just watched the RetroVision DVD and was rather impressed by the quality 
I love that 80’s aesthetic! It reminds me of the great box art that covered 80’s and 90’s games. It’s kind of a shame how cover art has devolved.
Time to pre-order
I received my copy lunch time today (ordered it last weekend), one day before schedule and just watched it.
The bluray looks good in image quality which is a plus. The story is a bit thin with not too much variation just Steffen getting his revenge and rather slowly in the end after a quick start, but the mood is fine.
Music could have been used more frequently to set the mood. Only a few scenes were accompanied by fine trumpet music. Too many were quiet.
The “ghost question” is no question for me. Like Tomas Milian’s character in Django Kill he obviously survived the attack that was shown in a flashback.
The end was perfect IMO.
The actors were in some cases familiar to me including Steffen as the rather well visually styled antihero and Carlo Gaddi from Requiem For Gringo (which I think is a SW with more “flesh” and better music and landscapes than Django The Bastard/The Stranger’s Gundown).
As mentioned in this thread it has elements in common with Clint Eastwoods High Plains Drifter which I think is better, much better (9/10).
As with many of these lesser known SWs I have rather carefully picked out they usually end up rated 6 or 7/10 by me, with no exception this time. I will watch it a second time within weeks to get a better impression.
As part of restoring @lordradish 's A Fistful of Pasta, two Django the Bastard reviews have been archived in the SWDb. Some animated pictures are still missing, and so is Len’s account here in the SWDb. Shows you how old this website is, once you dig into the past… you find all sorts of lose ends 
https://www.spaghetti-western.net/index.php/Django_the_Bastard_review_by_JD
https://www.spaghetti-western.net/index.php/Django_the_Bastard_review_by_Len
I think I’ve been luckier with DtB than most. When I first saw it I’d have agreed with what seems to be the consensus view, i.e. that a brilliant concept had been let down by a stolid central performance and direction that was no more than fitfully inspired, leaving one of those “historically important” movies that get faint praise for doing something first that others (AGSTC, High Plains Drifter) then do better. With repeated viewings, however, it’s really grown on me. Maybe I’ve got used to the weird way that Steffen can actually be quite expressive (I don’t know), and Rada Rassimov’s angular, alert beauty definitely floats my boat. But I also think DtB builds real tension, and even that the score is pretty bloody good. I could see it on the edges of a top 20.
On the “ghost” question
seems right on target to me. Maybe it’s safer to call Django a revenant, which usefully covers anything between a spirit and a walking corpse (driven here by a vengeful spirit?). Uncanniness is all about that kind of uncertainty.
Two things that strike me:
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Luke’s mad screams of “This is his blood!!!”: no-one can tell me that Catholic-raised Italians (and didn’t Steffen write most of the screenplay?) wouldn’t have heard in that line an echo of the Mass - Matthew 26:28, “This is my blood of the New Covenant” (“Hic est enim sanguis meus novi testamenti”), mutates there into “the cup [Calix] of my blood”). This means that the panic around Django’s uncanny status gets to connote all those abstruse debates about the Real Presence in the Mass and the workings of faith. What do the characters, and we, (think we) believe and/or know?
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The episode where the Murdoks and their cronies clear out the town’s citizens, to leave an open field for hunting down Django, has an emotional weight and intensity that even on first viewing gave me a (good) shock. It starts at 42:35: two of M.'s heavies tell the local coffin-maker to “pack your stuff and get out of here”, in the face of his feeble protests (“Why? This is my home!”), a shopkeeper is similarly driven out and his goods trashed. What then follows registers as an incipient diaspora: men, women and children file out of town, to the accompaniment of gunfire as M.‘s henchmen drive them into exile. “Vasco & Mancuso” really come into their own here; the episode is accompanied by a bleak processional that doesn’t die away until 46:19. By that time we’ve moved to an interior scene, and Alida has just asked the Murdoks "Why are ya makin’ everyone leave town?" Or, more exactly, why is everyone carting all their worldly goods along like a displaced population on the move, when supposedly they are only vacating the town for a day or two? I suspect the film is conjuring up a scenario with recent or contemporary resonance, though darned if I know what. WW2? The Istrian-Dalmatian Exodus of ethnic Italians? Vietnam? Another colonial war? Whatever the reference it’s a powerful, evocative sequence by any standards, underlining the tyranny that the Murdoks, the deranged Caligula-like sheriff-popping Luke in particular, have come to wield.
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Thanks to @Carlos , this movie’s page in the SWDb has been updated to the new “SWDb 3.0” format .
Please have a look and let us know if there’s something you can add (information, trivia, links, pictures, etc.).