Man With No Name Trilogy Blu Ray Review
The Human being with No Name Trilogy Blu-ray |
| | Video Codec: MPEG-iv AVC Resolution: 1080p Aspect ratio: 2.35:1 Original aspect ratio: 2.35:ane Audio A Fistful of Dollars English: DTS-HD Master Audio five.one (48kHz, 24-bit) For a Few Dollars More than English: DTS-Hd Main Audio 5.one (48kHz, 24-bit) 1 more than titles (more) A Fistful of Dollars English: DTS-Hd Master Audio 5.ane (48kHz, 24-bit) For a Few Dollars More English: DTS-Hd Primary Sound v.ane (48kHz, 24-bit) The Good, the Bad and the Ugly English: DTS-HD Master Audio v.one (48kHz, 24-bit) (less) Subtitles A Fistful of Dollars English SDH, French, Portuguese, Spanish, Cantonese, Greek, Mandarin (Traditional), Polish 2 more titles A Fistful of Dollars English language SDH, French, Portuguese, Spanish, Cantonese, Greek, Mandarin (Traditional), Polish For a Few Dollars More English SDH, French, Spanish The Good, the Bad and the Ugly English SDH, German, Portuguese, Spanish, Cantonese, Korean, Standard mandarin (Traditional), Thai (less) Discs Blu-ray Disc Three-disc set (3 BD-l) Packaging Playback | | Price List price: New from: $30.60 Used from: $viii.08 (Save 74%) Buy new on Amazon  Price Rating
2862 ratings 96% n/a |
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The Man with No Proper noun Trilogy
(1964-1966)
Contains all three films in the Man with No Name Trilogy: 'A Fistful of Dollars', 'For a Few Dollars More' and 'The Good, the Bad and the Ugly'.
For more than about The Human being with No Name Trilogy and the The Man with No Name Trilogy Blu-ray release, run across the The Man with No Proper noun Trilogy Blu-ray Review published by Casey Broadwater on June 8, 2010 where this Blu-ray release scored iv.0 out of 5.
Director: Sergio Leone
Writers: Sergio Leone
, Luciano Vincenzoni, Agenore Incrocci, Adriano Bolzoni, Furio Scarpelli, Fulvio Morsella
Starring: Clint Eastwood, Benito Stefanelli, Aldo Sambrell, Lorenzo Robledo, Mario Brega, Frank Bra�a
Producers: Alberto Grimaldi, Arrigo Colombo, Giorgio Papi, Arturo Gonz�lez
This Blu-ray package includes the following titles, see private titles for specs and details:
The Man with No Name Trilogy Blu-ray Review
Eastwood. Leone. Morricone. Pretty much all you need to know.
Reviewed by Casey Broadwater, June 8, 2010
When John Wayne rode the plains, life was pretty elementary for a gunslinger. Heroes wore white hats and treated their women kindly, while villains sauntered into town in ten-gallons worth of black, their upper lips hardened into permanent sneers. The Police force of the West was a balancing human action betwixt freedom and justice. Good was good, bad was bad, and moral ambiguity merely plain hadn't been invented yet. The reality of w expansion, however, was a great bargain less grounded in ethical certainties, and I've e'er idea the myth of the noble W was a ploy to help u.s.a. feel better about how nosotros treated the Native Americans. Hollywood embraced the western for its easy-to-script, good vs. evil, allow's go out there and show 'em how Americans get 'r done ethos, just after churning out championship afterwards title, the formula began to lose its authorisation. In the meantime, Europeans�nearly of whom had never even been to the wild, wild Westward�were putting new spins on the genre and paying close attention to what might as well be called the "eastern." Yes, the samurai movie. Inspired by Akira Kurasawa's Yojimbo, a film about a masterless swordsmen plying his steel-edged trade for common cold hard cash, Italian director Sergio Leone would create a different, contemptuous kind of western, where good was relative and bad was more merely an attitude. For the traditional Hollywood cowpoke tale, things were about to go ugly.
A Fistful of Dollars (3.5/5)
While non the first then-called "spaghetti western," A Fistful of Dollars certainly appear the presence of this new European take on a distinctly American idiom. Director Sergio Leone, whose merely previous credited picture show was the under-the-radar Colossus of Rhodes, saw in Kurasawa's Yojimbo an opportunity to reinvent the flagging western genre, which had grown predictable and dried. The irony, of course, is that Kurasawa was immensely influenced by the earlier westerns of John Ford, and borrowed the plot of Yojimbo from Dashiell Hammett'southward noir- ish novel Scarlet Harvest. When Leone set about remaking Yojimbo as a western� unauthorized and unbeknownst to Kurasawa�he was essentially bringing the story full circle and effectually the globe, telling an American tale, processed through a Japanese aesthetic and moral filter, with a European cinematic sensibility. Somehow, it works. While Leone'southward before long-to-be- characteristic style is however in its nascent stages here�the ii sequels grow progressively more assured�A Fistful of Dollars is, in several ways, a genre game-changer, finer overturning many long-held tenets of the "classic" western cinematic mythology established by John Ford and others.
This has everything�and, at the same time, nothing�to exercise with the moving picture'southward threadbare plot. By which I mean that the story is exceptionally elementary, simply the crux of information technology�moral ambiguity and greed �is something entirely new to the genre. A stranger�a perfectly stoic Clint Eastwood, in the role that would launch him to distinction�rides into the barren Mexican border town of San Miguel. We know nothing nigh his past, but like the nameless, masterless swordsman of Yojimbo� played by the almost equally taciturn Toshiro Mifune�he's a drifter, looking to put his gun slinging skills to utilize for the highest bidder. Vying for control of the town are 2 warring factions, the gunrunning Baxter association, led by a crooked sheriff (Wolfgang Lukschy), and the liquor-smuggling Rojos brothers, Don Miguel (Antonio Prieto), Esteban (Sieghart Rupp), and Gian Maria Volont� as the burglarize-toting R�mon. (In the same way that the villain in Yojimbo uses a firearm against a swordsman, R�mon uses a more powerful weapon�a rifle�against the pistol-carrying protagonist.) The stranger�nicknamed "Joe" past the local undertaker�sees in this territorial stalemate a chance to earn some serious greenbacks. He plays the two gangs against one some other, flipping allegiances whenever at that place'south a cadet to be fabricated.
And herein lies the motion picture'south pessimism. In previous westerns, the good guys were out for justice; they did what was right precisely because it was right, with no expectation of advantage. The Homo With No Name, going after money, and money only, is one of the western genre's offset true anti- heroes. He dresses the part, with a dirty lid, a bandit's poncho, and a week'south growth of stubble. Gnawing on his cigarillo and grimacing into the southwestern sunday, he's the total antithesis of a make clean-shaven John Wayne-blazon with a pressed shirt and white chapeau. The violence he doles out with his trusty .45 has no moral justification whatever, and helping the innocent is definitely secondary to his greed-driven cause. And all the same, he's a likeable, sympathetic character, and Eastwood plays him with a subtle flash in his eye. This is the genesis of the onscreen persona that Eastwood would cultivate for the rest of his career�a tough, globe-wearied sort with an in-the-know smirk� and it's as well footing zip for Sergio Leone'south immediately recognizable directorial fashion, from the ultra-tight shut-ups and deep compositions�utilizing a looming foreground object while some kind of action takes place in the groundwork�to the tense, protracted Mexican standoffs that end in sudden bursts of bullet-strewn violence. Though A Fistful of Dollars isn't the best of the Human being With No Name saga�it owes too much of a debt to Kurasawa�it is a terrific starting indicate for the trilogy, launching the careers of Eastwood, Leone, and composer Ennio Morricone, and introducing the world to westerns of the morally relativistic, hard-boiled spaghetti multifariousness.
For A Few Dollars More (four/5)
In Nihon, Yojimbo was followed almost immediately by Sanjuro, but afterward getting sued past Akira Kurasawa for A Fistful of Dollars' uncanny resemblance to the kickoff film, Sergio Leone wasn't about to remake its sequel. Instead, he wisely followed upward Fistful with a story of his own cosmos. For A Few Dollars More finds the manager expanding on the themes and visual touchstones established in his previous film, and the event is a product that's much more than mature, narratively complex, and polished, even if content-wise it's but every bit raw and gritty. Clint Eastwood returns as The Man With No Name�a marketing gimmick dreamed up at MGM�only this time, we learn he'southward "said to go by the proper name of 'Manco,'" which roughly translates to "lame in one hand." And while he's non actually lame, he does do simply about everything left- handed, if only to keep his right hand�his gun hand�always at the ready. The character is still a complete enigma, a man without a past. Is he supposed to be "Joe" from Fistful? The matching poncho, black jeans, and cigarillos say yeah, but we can't be certain. The mystery broadens the graphic symbol; he'due south no longer only a man, he's an unabridged classic unto himself�the nameless wanderer, the itinerant gunslinger, hellfire on a horse.
The moving picture begins with a title card that reads, "Where life had no value, decease, sometimes, had its price. That is why the compensation killers appeared." Straight off nosotros're introduced to Colonel Douglas Mortimer (Lee Van Cleef), an inveterate vigilante who smokes an enormous yellowish pipe and carries his own personal arsenal of firearms�the correct gun for every situation. This is a human being accustomed to dealing out death for coin, and we see a at-home, almost bemused reserve on his face as he assembles his extended-stock pistol while the brigand he's hunting fires at him from out of range. He's a specialist, a thinker, who has somehow survived in this trade until "almost l years of age." Manco's approach to bounty killing is more reckless, ballsy even. We see him initiate a shootout in a saloon with nary a flinch; when the last brigand standing�or rather, crawling� reaches for a pistol on the ground, Manco kills him without even looking. Badass. Eventually, these 2 bounty hunters meet face to face and, after sizing each other up in a pistol-shooting game of 1-upmanship�Mortimer wins, keeping Manco's hat in the air with several shots�course a shaky partnership, based on mutual distrust. Both men, for carve up reasons, are looking for El Indio (Gian Maria Volont�), a heartless, reefer-smoking criminal�everyone smokes something in these films, be it a cigarillo, a pipe, or a articulation�who plans on robbing the heaviest guarded banking company in El Paso. Manco infiltrates Indio'due south gang while Mortimer keeps watch from the outside, but when their scheme is discovered, it'll take a whole lot of trickery and gunplay to get them their reward�a $27,000 bounty.
The violence is more intense, the themes are more pronounced, and For A Few Dollars More than is bigger and more than accomplished�in just nearly every mode�than its predecessor. Yous tin practically encounter anybody involved settling into a kind of swagger, Eastwood nigh of all, every bit he seems completely at home in the character here, assuasive himself more elbowroom for comedic moments. Similar Steve McQueen, a rising star after The Magnificent Vii, Eastwood exudes effortless absurd. Unlike McQueen, though, who basically tried to steal the show from Yul Brynner in Magnificent�waving his hat effectually and doing annihilation he could to concenter onscreen attention�Eastwood's functioning is economically pared downwards to the essentials, minimal expression, minimal movement, minimal dialogue. (Leone once joked that Clint had two expressions, with the chapeau, and without the hat.) And this makes him a commanding presence. Lee Van Cleef is just as good. Subsequently playing second-fiddle in numerous 1950's westerns, he makes the most here out of his first sizeable starring role. Watching his motivations unravel is one of the film's greatest subtleties�it's ultimately satisfying to acquire why he'due south really after Indio�and his nearly father/son-manner repartee with Eastwood gives the movie unexpected depth. Since Leone made For A Few Dollars More than for more just a few more dollars than its predecessor� $600,000, compared to $200,000�his directorial performance also seems more than confident. His frame are filled with movement, the town seems more than alive than Fistful's San Miguel, and the gunfights are more tensely choreographed. Far from just a warm-upward for his masterpiece, The Good, the Bad, and the Ugly�though it is that, too�For A Few Dollars More is a piece of audacious filmmaking that continues to evolve Leone'due south conception of the ignoble west.
The Good, the Bad, and the Ugly (4.five/5)
The culmination of this new breed of western is undoubtedly The Good, the Bad and the Ugly. As the 3rd film in the "Dollars" trilogy, The Adept, the Bad and the Ugly presents Leone at the tiptop of his artistic and directorial powers, not to mention blessed with the biggest upkeep he'd had yet. The scope of the moving picture is immense, as Leone takes u.s.a. from tiny towns to embroiled Civil State of war battles, and from the craggy canyons of the characters' faces to sand-filled vistas that stretch from one horizon to the side by side. Fifty-fifty time itself seems subject to the film's enormity. At a hefty 179 minutes, The Practiced, the Bad and the Ugly should seem drawn- out and overlong. Instead, we're drawn into the tense and protracted stares between characters, waiting anxiously for that carve up-2nd moment of violence. A lesser moving-picture show would've left whole spools on the cutting room floor, merely each spare detail hither builds upwardly the world that the narrative inhabits.
Set in Texas on the outskirts of the Civil State of war, The Skilful, the Bad and the Ugly is the story of iii men vying to find $200,000 in Confederate aureate. Blondie (Clint Eastwood) is the Good, an afoot gunslinger who's running a scam with Tuco (Eli Wallach)�the Ugly�a conniving bandit well good in the art of backstabbing, and the two have a tenuous brotherhood based on mutual proceeds. Besides afterwards the coinage is Angel Eyes (Lee Van Cleef, in another iconic role)�the Bad�a common cold- blooded killer with an icy stare that's like looking downwards the dual barrels of a shotgun. Tuco knows the cemetery where the money is buried, but non the exact location. Blondie knows the spot, simply not the name of the cemetery. And Angel Eyes tracks them both, hoping to go his hands on the glittering payday. Allegiances flip-flop and niceties are quickly dispensed with equally the three men go nearer and nearer to the treasure.
That our anti-hero Blondie is later money�not justice�is once again indicative of the new, cynical direction that Leone was taking with the western. Decency and integrity were no longer adequate rewards, in and of themselves, and though Blondie is the Practiced in the motion picture, he'southward rarely "practiced" in the conventional sense. Tuco is the most blatantly rapacious�when he gets to the cemetery he's basically running effectually with dollar signs in his optics�but Blondie is likewise driven inherently by greed. This materialistic chase is set against a backdrop of war'south absurdities�thousands of soldiers dice, for case, to accept a wholly inconsequential span�and Leone seems to exist saying that both state of war and greed are surefire routes to senseless violence.
And there'southward plenty of fun, senseless violence. More than just a continued upheaval of its genre, The Proficient, the Bad and the Ugly is an ultra-cool exercise in manner, from the cleverly cut gun battles to Clint Eastwood in his knee-length duster, squinting into the sun with a one-half-smoked stogie wedged in his grimacing teeth. The 3 principle actors are simply a pleasure to sentry. Lee Van Cleef simmers with a dastardly suaveness, Eastwood brings his wry grin, and Eli Wallach stomps through the narrative, oft stealing the show from Clint himself. There's a reason why people still lookout the films in the Man With No Proper name trilogy, and information technology'southward not because they're influential or game-changing�though they certainly are, serving as predecessors to the "acid westerns" of Sam Peckinpah and Alejandro Jodorowsky�simply merely because they're so infinitely entertaining.
The Man with No Proper name Trilogy Blu-ray, Video Quality
Okay, so there's some expert news and some bad news (simply, thankfully, no outright ugly news). Kickoff, the bad. While some were hoping for a new re-principal of The Proficient, the Bad, and the Ugly, MGM has�not unexpectedly�stuck with the aforementioned transfer that was used on the 2009 stand-lone Blu-ray release of the pic. And this transfer didn't exactly win over the hearts of videophiles. Based on a 2002 restoration and originally engineered for a subsequent DVD release, the transfer exhibits issues that wouldn't exist as apparent in standard definition, only definitely prove upwardly in 1080p. Edge enhancement is oftentimes noticeable�forming sometimes white, sometimes black haloes around hard lines�and the overuse of digital racket reduction often results in waxy facial textures and an artificial diminishing of the pic's grain construction. So, no, the transfer isn't platonic, just information technology is an improvement in terms of color and depth, with dusty Technicolor hues and solid black levels.
The good news is that both A Fistful of Dollars and A Few Dollars More look much better. There are withal some minor issues�Fistful appears to exist slightly cropped, and some lines and textures do seem unnaturally edgy�only both films look less apparently tampered with and more naturally filmic. Visually, Fistful is the weaker of the ii, with a softer paradigm, but this seems due to the film's low-budget origins and slightly off focus pulling rather than a defect in the transfer process. Withal, the upgrade in picture quality is definitely observable. The existent gem hither, paradigm-wise, is For A Few Dollars More, which looks quite prissy in high definition, with strong color and a more refined sense of clarity. There are white specks and some minor print damage present in all three films, but nothing too off-putting. Likewise, the films sit down comfortably on three BD-50 GB discs, and there really aren't whatsoever overly apparent compression-related distractions. Could The Man With No Name trilogy look better? Admittedly. Will it? Probably non for some time to come. I, for i, am definitely retiring my DVD copies.
For those keeping score, I'd requite A Fistful of Dollars a 3.5/5, For A Few Dollars More a solid 4/five, and The Skillful, the Bad, and the Ugly a 3/5.
Also note that screenshots 2 and 5-10 are from Fistful, 1,iii, and 11-15 are from A Few Dollars More, and 4 and 16-20 are from The Proficient, the Bad, and the Ugly.
The Man with No Name Trilogy Blu-ray, Audio Quality
The original mono stems for each movie have been expanded here into capable DTS-HD Master Audio v.ane surround mixes. Personally, I'd be fine with lossless versions of the mono tracks, just I can understand the insistence on wanting to fill out the soundfield. You'll hear horses galloping betwixt channels, gunfire ricocheting from all sides, and the occasional bleeding of identify-establishing ambience, like saloon chatter and diverse outdoorsy noises. That said, this endeavor to make the films more immersive isn't always successful. In that location are times when the effects panned into the rear speakers sound clumsy, directionally inaccurate, or simply out of place (i.e., voices coming from the left when, visually, information technology seems they should be heard from the right). Thankfully, this doesn't happen too frequently. Overall, I'm happy with all of these tracks, which, surround sound bated, seem like accurate representations of the original audio, warts and all. All iii films were completely dubbed in post- product, and the ADR work from many of the chip players is often laughably bad. Still, dialogue is balanced well and is ordinarily easy to understand, even if it doesn't ever lip-sync perfectly. The biggest benefit in the upgrade to lossless sound tin exist heard in Ennio Morricone'south iconic scores, which were radical departures from the orchestral arrangements of most westerns. If you're cool with the tinny quality of the loftier-end, the music sounds fantastic, a mix of bright Stratocaster guitar tones, rima oris harp, whistling, clip-clop percussion, and unintelligible chanting. The audio gets strong four/5's across the board.
The Human being with No Name Trilogy Blu-ray, Special Features and Extras
A Fistful of Dollars
Commentary with Moving-picture show Historian Christopher Frayling
Frayling, Sergio Leone's biographer and author of Spaghetti Westerns: Cowboys and Europeans from Karl May to Sergio Leone, offers upwards an immensely informative commentary, a not-finish parade of facts, anecdotes, and trivia.
The Christopher Frayling Archives: Fistful of Dollars (1080p, xviii:xl)
An all-new featurette featuring picture historian Christopher Frayling, who shows off pieces from his sizeable collection of Fistful of Dollars-related movie memorabilia, from posters and pressbooks to anteroom cards, 7" singles, and the original script.
A New Kind of Hero (SD, 22:54)
Frayling talks about the plot is similar to Yojimbo, just how the dialogue, the action, and the feel of watching it�the particulars�are quite dissimilar. There's some overlap hither with his commentary, but it's definitely worth a watch.
A Few Weeks in Spain: Clint Eastwood on the Experience of Making the Film (SD, 8:33)
In Baronial 2003, Eastwood sat downwards to discuss his memories of Fistful, with an emphasis on the cobbled together costuming and the difficulties of dubbing for the American release.
Tre Voci: Fistful of Dollars (SD, 11:12)
Producer Alberto Grimaldi, screenwriter Sergio Donati, and American actor Mickey Knox offer up their memories of Sergio Leone.
Not Prepare for Primetime: Renowned Filmmaker Monte Hellman Disscusses the Goggle box Broadcast of A Fistful of Dollars (SD, half-dozen:20)
Ah, Television set censorship. Considering none of the violence in the film is given any moral justification, and because Clint'southward character goes unpunished for the murders that he commits, network Idiot box censors had filmmaker Monte Hellman film a prologue that explained why Clint was going into the town of San Miguel. Hellman is patently kind of embarrassed to accept this on his resume, merely he'southward good- natured about it.
The Network Prologue with Harry Dean Stanton (SD, 7:44)
Here, we get to see the prologue, which features Harry Dean Stanton as a federal marshall who grants Eastwood'southward character a pardon if he agrees to "make clean upward" the town of San Miguel.
Location Comparisons: So to Now (SD, v:22)
In this featurette, nosotros see clips from the film, and then still photos of the locations equally they announced today.
ten Radio Spots (1080p, six:00)
Ten radio spots play over production stills.
Double Bill Trailer (SD, ii:03)
Fistful of Dollars Trailer (1080p, 2:26)
For A Few Dollars More
Commentary with Flick Historian Christopher Frayling
Another listenable, informative track from Frayling, who has a seemingly inexhaustible supply of Sergio Leone-related knowledge.
The Christopher Frayling Archives: For A Few Dollars More (1080p, xix:02)
Again, Frayling shows off posters, documents, and scripts�the "greatest hits" from his collection of Leone-related materials�and tells the story of each.
A New Standard: Frayling on For A Few Dollars More (SD, 20:14)
Frayling discusses Leone's developing style and emerging confidence equally a filmmaker. He also gets into the casting and themes of the film, but you won't larn much that yous didn't already hear in the commentary.
Back For More: Clint Eastwood Remembers For A Few Dollars More (SD, vii:08)
Some other featurette with Eastwood reminiscing about his piece of work with Sergio Leone.
Tre Voci: For A Few Dollars More (SD, 11:05)
Alberto Grimaldi, Sergio Donati, and Mickey Knox return to talk most their contributions to the film.
For A Few Dollars More: The Original American Release Version (SD, 5:18)
For the film's 1965 U.S. relase, United Artists trimmed three scenes slightly, removing references to "Manco" every bit Eastwood'due south character'southward name, so as to accommodate with their "Human With No Name" marketing.
Location Comparisons (SD, 12:xvi)
More comparisons between the locations as they appeared in 1965 and how they wait today.
12 Radio Spots (1080i, vii:36)
Audio from vintage radio spots playing over product stills.
Theatrical Trailer one (1080p, 2:29)
Theatrical Trailer 2 (1080p, 3:44)
The Skillful, The Bad, and The Ugly
Commentary Tracks
2 commentaries are included on the disc, the showtime past moving-picture show historian Richard Schickel, which appeared on the DVD release, and the second by Christopher Frayling. Both men are veritable Leone experts, and each runway is laden with insights, critical dissections, and anecdotes, with some expected overlap. Frayling'south is the livelier rails, merely both commentaries will prove invaluable to spaghetti western fans.
Leone's West (SD, 19:55)
This retrospective look at Leone'south westerns, specifically the Man With No Name trilogy, features Clint Eastwood, Eli Wallach, producer Alberto Grimaldi, dubbing skillful Mickey Knox, and film historian Richard Schickel. A lot of the fabric discussed is also covered in the more extensive commentary tracks, but those looking for a concentrated, less time consuming dose will discover this featurette highly informing. I was especially amused by the fact that Clint Eastwood brought about of his own costume to the prepare, including his black Levi jeans, gun belt, and that distinctive sheepskin jacket.
The Leone Style (SD, 23:48)
Featuring the same cast of interviewees every bit the previous feature, "The Leone Style" is basically a way to break the bonus materials into more than digestible chunks. This morsel is naturally focused on the look of Leone'southward films and how, with an almost child-like view of the world, he drew inspiration from painting and opera.
The Man Who Lost the Civil War (SD, 14:24)
Many viewers might assume the Civil War skirmishes that surround the film's narrative are fictional, but they were based on some bodily battles fought on the far western front of the war. This brief documentary is focused on Brigadier General Henry Hopkins Sibly, who had a grand scheme to requite the Confederacy an open up route to California, and win the acknowledgement of France and England.
Restructuring The Expert, the Bad and the Ugly (SD, 11:09)
In 2002, MGM Technical Services and Triage Labs, a company that focuses on photo-chemical restoration and obscure formats, set most restoring the extended version of the film, a daunting task that was done nearly completely by manus. This segment gives some insight into that process.
Il Maestro: Ennio Morricone and The Expert, the Bad and the Ugly (SD, 7:48 and 12:00)
This segment is broken into two parts. The first is an interview with film music historian Jon Burlingame, who discusses Morricone's avante-guard influences and the unique score of the film. Function ii is an sound-only autopsy by Jon Burlingame of Morricone's themes from The Good, the Bad and the Ugly.
Deleted Scenes (SD, 10:19)
Included are the extended Tuco torture sequence and the Socorro sequence, which is pieced together from still photography and shots from the French trailer for the film.
Trailers (SD, 3:21)
Includes the original theatrical trailer and the French trailer.
The Man with No Name Trilogy Blu-ray, Overall Score and Recommendation
Information technology goes without saying that The Man With No Name trilogy belongs in every western fan's collection. These iii films cataclysmically altered the class of the genre, and launched steely-eyed Clint Eastwood into super-distinction. For some reason, though, the trilogy has never really received the home video treatment it deserves, imperfectly reproduced through pan-and-scanned VHS copies and non-anamorphic DVDs. This Blu-ray release of the collection is a remarkable comeback�newfound detail, consistent colour, stronger depth�only videophiles volition still find crusade to mutter. I empathize to some extent�I too want the best possible versions in my collection�just I'1000 not about to let some small edge enhancement and imprudently applied DNR ruin my enjoyment of the films. Even with their flaws, the transfers expect drastically better than annihilation that has come up before. Barring new re- masters and frame-by-frame restorations from MGM�which, allow's confront information technology, given the studio'south financial land, aren't going to happen anytime soon, if ever�this is probable the all-time that The Human being With No Proper noun trilogy is going to look for some futurity. Recommended.
Movie Discussions
North America Blu-ray Discussions
Topic | Replies | Last postal service | |
• The Good, the Bad, and the Ugly 4K UHD (1966) (Official Thread) | 3555 | Mar 26, 2022 | |
• The Good, the Bad and the Ugly (1966) (50th Annive... (Official Thread) | 3035 | Apr 26, 2021 | |
• For a Few Dollars More than (1965) (Remastered) (Official Thread) | 634 | May 12, 2021 | |
• The Practiced, the Bad, and the Ugly (1966) (Remastered... (Official Thread) | 546 | Jun 22, 2019 | |
• A Fistful of Dollars (1964) (Remastered) (Official Thread) | 485 | Mar 23, 2022 | |
• The Good The Bad & The Ugly..May twelfth (Official Thread) | 288 | Dec ten, 2020 | |
• For a Few Dollars More than (1965) 4K UHD Kino Lorber (Official Thread) | 151 | Apr 06, 2022 | |
| • The Man with No Proper noun Trilogy (1964-1966) / TGTBTU (1966) (Remastered) | 3126 | Feb 12, 2021 | |
| • The Human being with No Name Trilogy is Now $27.99 at Amazon. | 4 | May 20, 2011 |
International Blu-ray Discussions
Topic | Replies | Final mail | |
 | • The Practiced, the Bad and the Ugly theatrical cut fina... (Official Thread) | 205 | Aug 07, 2019 |
 | • Per Un Pugno Di Dollari (A Fistful of Dollars) (Official Thread) | 99 | Aug 21, 2019 |
| | • Il Buono, Il Brutto, Il Cattivo - Italy (Official Thread) | 77 | Aug 15, 2017 |
 | • F�r ein paar Dollar mehr (Per qualche dollaro in p... (Official Thread) | 51 | May 16, 2021 |
| | • Il buono, il brutto, il cattivo. / The Adept, the B... (Official Thread) | 35 | Jan 26, 2022 |
• A Fistful of Dollars (50th Anniversary Edition) Ja... (Official Thread) | 26 | Jan 26, 2015 | |
| | • F�r eine Handvoll Dollar (Per un pugno di dollari ... (Official Thread) | 7 | Feb 25, 2013 |
 | • How'south the Man With No Name Trilogy? | ix | Mar 24, 2012 |
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| 6. | X |
| seven. | Morbius |
| eight. | Turning Red |
| 9. | The Lost Metropolis |
| x. | Moonfall |
| 11. | The Contractor |
| 12. | The Outfit |
| thirteen. | Infinite Tempest |
| 14. | All the Old Knives |
| 15. | The Adam Projection |
| 16. | Dog |
| 17. | Jackass Forever |
| 18. | The Worst Person in the World |
| 19. | Last Looks |
| 20. | Blacklight |
| 21. | Agent Game |
| 22. | The Requin |
| 23. | Marry Me |
| 24. | RRR |
| 25. | Gold |
| 26. | The Burning Sea |
| 27. | The Long Night |
| 28. | Uncharted |
| 29. | WarHunt |
| 30. | Ted K |
| 31. | Aline |
| 32. | Gagarine |
| 33. | Main |
| 34. | Barbarians |
| 35. | The Cursed |
| 36. | The Devil You Know |
| 37. | Panama |
| 38. | Umma |
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Source: https://www.blu-ray.com/movies/The-Man-with-No-Name-Trilogy-Blu-ray/10781/
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