Gas metal arc welding

Gas metal arc welding (GMAW), sometimes referred to by its subtypes metal inert gas (MIG) welding or metal active gas (MAG) welding, is a welding process in which an electric arc is formed between a consumable wire electrode and the workpiece metal(s), which heats the workpiece metal(s), causing them to melt, and join. Along with the wire electrode, a shielding gas is fed through the welding gun, which shields the process from contaminants in the air. The process can be semi-automatic or automatic. A constant voltage, direct current power source is most commonly used with GMAW, but constant current systems, as well as alternating current, can be used. There are four primary methods of metal transfer in GMAW, called globular, short-circuiting, spray, and pulsed-spray, each of which has distinct properties and corresponding advantages and limitations.

Originally developed for welding aluminum and other non-ferrous materials in the 1940s, GMAW was soon applied to steels because it allowed for lower welding time compared to other welding processes. The cost of inert gas limited its use in steels until several years later, when the use of semi-inert gases such as carbon dioxide became common. Further developments during the 1950s and 1960s gave the process more versatility and as a result, it became a highly used industrial process. Today, GMAW is the most common industrial welding process, preferred for its versatility, speed and the relative ease of adapting the process to robotic automation. Unlike welding processes that do not employ a shielding gas, such as shielded metal arc welding, it is rarely used outdoors or in other areas of air volatility. A related process, flux cored arc welding, often does not utilize a shielding gas, instead employing a hollow electrode wire that is filled with flux on the inside.

Development[link]

The principles of gas metal arc welding began to be understood in the early 19th century, after Humphry Davy discovered the short pulsed electric arcs in 1800.^[1] Vasily Petrov independently produced the continuous electric arc in 1802 (soon followed by Davy).^[1] It was not until the 1880s that the technology became developed with the aim of industrial usage. At first, carbon electrodes were used in carbon arc welding. By 1890, metal electrodes had been invented by Nikolay Slavyanov and C. L. Coffin. In 1920, an early predecessor of GMAW was invented by P. O. Nobel of General Electric. It used a bare electrode wire and direct current, and used arc voltage to regulate the feed rate. It did not use a shielding gas to protect the weld, as developments in welding atmospheres did not take place until later that decade. In 1926 another forerunner of GMAW was released, but it was not suitable for practical use.^[2]

It was not until 1948 that GMAW was finally developed by the Battelle Memorial Institute. It used a smaller diameter electrode and a constant voltage power source, which had been developed by H. E. Kennedy. It offered a high deposition rate, but the high cost of inert gases limited its use to non-ferrous materials and cost savings were not obtained. In 1953, the use of carbon dioxide as a welding atmosphere was developed, and it quickly gained popularity in GMAW, since it made welding steel more economical. In 1958 and 1959, the short-arc variation of GMAW was released, which increased welding versatility and made the welding of thin materials possible while relying on smaller electrode wires and more advanced power supplies. It quickly became the most popular GMAW variation. The spray-arc transfer variation was developed in the early 1960s, when experimenters added small amounts of oxygen to inert gases. More recently, pulsed current has been applied, giving rise to a new method called the pulsed spray-arc variation.^[3]

As noted, GMAW is currently one of the most popular welding methods, especially in industrial environments. It is used extensively by the sheet metal industry and, by extension, the automobile industry. There, the method is often used for arc spot welding, thereby replacing riveting or resistance spot welding. It is also popular for automated welding, in which robots handle the workpieces and the welding gun to speed up the manufacturing process.^[4] Generally, it is unsuitable for welding outdoors, because the movement of the surrounding air can dissipate the shielding gas and thus make welding more difficult, while also decreasing the quality of the weld. The problem can be alleviated to some extent by increasing the shielding gas output, but this can be expensive and may also affect the quality of the weld. In general, processes such as shielded metal arc welding and flux cored arc welding are preferred for welding outdoors, making the use of GMAW in the construction industry rather limited. Furthermore, the use of a shielding gas makes GMAW an unpopular underwater welding process.

Equipment[link]

To perform gas metal arc welding, the basic necessary equipment is a welding gun, a wire feed unit, a welding power supply, an electrode wire, and a shielding gas supply.^{[citation needed]}

Welding gun and wire feed unit[link]

GMAW torch nozzle cutaway image. (1) Torch handle, (2) Molded phenolic dielectric (shown in white) and threaded metal nut insert (yellow), (3) Shielding gas diffuser, (4) Contact tip, (5) Nozzle output face

GMAW on stainless steel

The typical GMAW welding gun has a number of key parts—a control switch, a contact tip, a power cable, a gas nozzle, an electrode conduit and liner, and a gas hose. The control switch, or trigger, when pressed by the operator, initiates the wire feed, electric power, and the shielding gas flow, causing an electric arc to be struck. The contact tip, normally made of copper and sometimes chemically treated to reduce spatter, is connected to the welding power source through the power cable and transmits the electrical energy to the electrode while directing it to the weld area. It must be firmly secured and properly sized, since it must allow the passage of the electrode while maintaining an electrical contact. Before arriving at the contact tip, the wire is protected and guided by the electrode conduit and liner, which help prevent buckling and maintain an uninterrupted wire feed. The gas nozzle is used to evenly direct the shielding gas into the welding zone—if the flow is inconsistent, it may not provide adequate protection of the weld area. Larger nozzles provide greater shielding gas flow, which is useful for high current welding operations, in which the size of the molten weld pool is increased. The gas is supplied to the nozzle through a gas hose, which is connected to the tanks of shielding gas. Sometimes, a water hose is also built into the welding gun, cooling the gun in high heat operations.^[5]

The wire feed unit supplies the electrode to the work, driving it through the conduit and on to the contact tip. Most models provide the wire at a constant feed rate, but more advanced machines can vary the feed rate in response to the arc length and voltage. Some wire feeders can reach feed rates as high as 30.5 m/min (1200 in/min),^[6] but feed rates for semiautomatic GMAW typically range from 2 to 10 m/min (75–400 in/min).^[7]

Tool style[link]

The top electrode holder is a semiautomatic air-cooled holder; compressed air is circulated through it to maintain moderate temperatures. It is used with lower current levels for welding lap- or butt joints. The second most common type of electrode holder is a semiautomatic water-cooled; the only difference being that water takes the place of air. It uses higher current levels for welding T- or corner joints. The third typical holder type is an automatic electrode holder that is water cooled; this holder is used typically with automated equipment.^[8]

Power supply[link]

Most applications of gas metal arc welding use a constant voltage power supply. As a result, any change in arc length (which is directly related to voltage) results in a large change in heat input and current. A shorter arc length will cause a much greater heat input, which will make the wire electrode melt more quickly and thereby restore the original arc length. This helps operators keep the arc length consistent even when manually welding with hand-held welding guns. To achieve a similar effect, sometimes a constant current power source is used in combination with an arc voltage-controlled wire feed unit. In this case, a change in arc length makes the wire feed rate adjust in order to maintain a relatively constant arc length. In rare circumstances, a constant current power source and a constant wire feed rate unit might be coupled, especially for the welding of metals with high thermal conductivities, such as aluminum. This grants the operator additional control over the heat input into the weld, but requires significant skill to perform successfully.^[9]

Alternating current is rarely used with GMAW; instead, direct current is employed and the electrode is generally positively charged. Since the anode tends to have a greater heat concentration, this results in faster melting of the feed wire, which increases weld penetration and welding speed. The polarity can be reversed only when special emissive-coated electrode wires are used, but since these are not popular, a negatively charged electrode is rarely employed.^[10]

Electrode[link]

Electrode selection is based primarily on the composition of the metal being welded, the process variation being used, joint design and the material surface conditions. Electrode selection greatly influences the mechanical properties of the weld and is a key factor of weld quality. In general the finished weld metal should have mechanical properties similar to those of the base material with no defects such as discontinuities, entrained contaminants or porosity within the weld. To achieve these goals a wide variety of electrodes exist. All commercially available electrodes contain deoxidizing metals such as silicon, manganese, titanium and aluminum in small percentages to help prevent oxygen porosity. Some contain denitriding metals such as titanium and zirconium to avoid nitrogen porosity.^[11] Depending on the process variation and base material being welded the diameters of the electrodes used in GMAW typically range from 0.7 to 2.4 mm (0.028–0.095 in) but can be as large as 4 mm (0.16 in). The smallest electrodes, generally up to 1.14 mm (0.045 in)^[12] are associated with the short-circuiting metal transfer process, while the most common spray-transfer process mode electrodes are usually at least 0.9 mm (0.035 in).^[13][14]

GMAW Circuit diagram. (1) Welding torch, (2) Workpiece, (3) Power source, (4) Wire feed unit, (5) Electrode source, (6) Shielding gas supply.

Shielding gas[link]

Shielding gases are necessary for gas metal arc welding to protect the welding area from atmospheric gases such as nitrogen and oxygen, which can cause fusion defects, porosity, and weld metal embrittlement if they come in contact with the electrode, the arc, or the welding metal. This problem is common to all arc welding processes; for example, in the older Shielded-Metal Arc Welding process (SMAW), the electrode is coated with a solid flux which evolves a protective cloud of carbon dioxide when melted by the arc. In GMAW, however, the electrode wire does not have a flux coating, and a separate shielding gas is employed to protect the weld. This eliminates slag, the hard residue from the flux that builds up after welding and must be chipped off to reveal the completed weld.^{[citation needed]}

The choice of a shielding gas depends on several factors, most importantly the type of material being welded and the process variation being used. Pure inert gases such as argon and helium are only used for nonferrous welding; with steel they do not provide adequate weld penetration (argon) or cause an erratic arc and encourage spatter (with helium). Pure carbon dioxide, on the other hand, allows for deep penetration welds but encourages oxide formation, which adversely affect the mechanical properties of the weld. Its low cost makes it an attractive choice, but because of the reactivity of the arc plasma, spatter is unavoidable and welding thin materials is difficult. As a result, argon and carbon dioxide are frequently mixed in a 75%/25% to 90%/10% mixture. Generally, in short circuit GMAW, higher carbon dioxide content increases the weld heat and energy when all other weld parameters (volts, current, electrode type and diameter) are held the same. As the carbon dioxide content increases over 20%, spray transfer GMAW becomes increasingly problematic, especially with smaller electrode diameters.^[15]

Argon is also commonly mixed with other gases, oxygen, helium, hydrogen, and nitrogen. The addition of up to 5% oxygen (like the higher concentrations of carbon dioxide mentioned above) can be helpful in welding stainless steel, however, in most applications carbon dioxide is preferred.^[16] Increased oxygen makes the shielding gas oxidize the electrode, which can lead to porosity in the deposit if the electrode does not contain sufficient deoxidizers. Excessive oxygen, especially when used in application for which it is not prescribed, can lead to brittleness in the heat affected zone. Argon-helium mixtures are extremely inert, and can be used on nonferrous materials. A helium concentration of 50%–75% raises the required voltage and increases the heat in the arc, due to helium's higher ionization temperature. Hydrogen is sometimes added to argon in small concentrations (up to about 5%) for welding nickel and thick stainless steel workpieces. In higher concentrations (up to 25% hydrogen), it may be used for welding conductive materials such as copper. However, it should not be used on steel, aluminum or magnesium because it can cause porosity and hydrogen embrittlement.

Shielding gas mixtures of three or more gases are also available. Mixtures of argon, carbon dioxide and oxygen are marketed for welding steels. Other mixtures add a small amount of helium to argon-oxygen combinations, these mixtures are claimed to allow higher arc voltages and welding speed. Helium is also sometimes used as the base gas, with small amounts of argon and carbon dioxide added. However, because it is less dense than air, helium is less effective in shielding the weld than argon– which is denser than air. It also can lead to arc stability and penetration issues, and increased spatter, due to its much more energetic arc plasma. Helium is also substantially more expensive than other shielding gases. Other specialized and often proprietary gas mixtures claim even greater benefits for specific applications.^[17]

The desirable rate of shielding-gas flow depends primarily on weld geometry, speed, current, the type of gas, and the metal transfer mode being utilized. Welding flat surfaces requires higher flow than welding grooved materials, since the gas is dispersed more quickly. Faster welding speeds, in general, mean that more gas needs to be supplied to provide adequate coverage. Additionally, higher current requires greater flow, and generally, more helium is required to provide adequate coverage than if argon is used. Perhaps most importantly, the four primary variations of GMAW have differing shielding gas flow requirements—for the small weld pools of the short circuiting and pulsed spray modes, about 10 L/min (20 ft³/h) is generally suitable, whereas for globular transfer, around 15 L/min (30 ft³/h) is preferred. The spray transfer variation normally requires more shielding-gas flow because of its higher heat input and thus larger weld pool. Typical gas-flow amounts are approximately 20–25 L/min (40–50 ft³/h).^[7]

Operation[link]

GMAW weld area. (1) Direction of travel, (2) Contact tube, (3) Electrode, (4) Shielding gas, (5) Molten weld metal, (6) Solidified weld metal, (7) Workpiece.

For most of its applications gas metal arc welding is a fairly simple welding process to learn requiring no more than a week or two to master basic welding technique. Even when welding is performed by well-trained operators weld quality can fluctuate since it depends on a number of external factors. All GMAW is dangerous, though perhaps less so than some other welding methods, such as shielded metal arc welding.^[18]

Technique[link]

The basic technique for GMAW is quite simple, since the electrode is fed automatically through the torch (head of tip). By contrast, in gas tungsten arc welding, the welder must handle a welding torch in one hand and a separate filler wire in the other, and in shielded metal arc welding, the operator must frequently chip off slag and change welding electrodes. GMAW requires only that the operator guide the welding gun with proper position and orientation along the area being welded. Keeping a consistent contact tip-to-work distance (the stick out distance) is important, because a long stickout distance can cause the electrode to overheat and will also waste shielding gas. Stickout distance varies for different GMAW weld processes and applications.^{[19][20][21][22]} The orientation of the gun is also important—it should be held so as to bisect the angle between the workpieces; that is, at 45 degrees for a fillet weld and 90 degrees for welding a flat surface. The travel angle, or lead angle, is the angle of the torch with respect to the direction of travel, and it should generally remain approximately vertical. However, the desirable angle changes somewhat depending on the type of shielding gas used—with pure inert gases, the bottom of the torch is often slightly in front of the upper section, while the opposite is true when the welding atmosphere is carbon dioxide.^[23]

Quality[link]

Two of the most prevalent quality problems in GMAW are dross and porosity. If not controlled, they can lead to weaker, less ductile welds. Dross is an especially common problem in aluminum GMAW welds, normally coming from particles of aluminum oxide or aluminum nitride present in the electrode or base materials. Electrodes and workpieces must be brushed with a wire brush or chemically treated to remove oxides on the surface. Any oxygen in contact with the weld pool, whether from the atmosphere or the shielding gas, causes dross as well. As a result, sufficient flow of inert shielding gases is necessary, and welding in volatile air should be avoided.^[24]

In GMAW the primary cause of porosity is gas entrapment in the weld pool, which occurs when the metal solidifies before the gas escapes. The gas can come from impurities in the shielding gas or on the workpiece, as well as from an excessively long or violent arc. Generally, the amount of gas entrapped is directly related to the cooling rate of the weld pool. Because of its higher thermal conductivity, aluminum welds are especially susceptible to greater cooling rates and thus additional porosity. To reduce it, the workpiece and electrode should be clean, the welding speed diminished and the current set high enough to provide sufficient heat input and stable metal transfer but low enough that the arc remains steady. Preheating can also help reduce the cooling rate in some cases by reducing the temperature gradient between the weld area and the base material.^[25]

Safety[link]

Gas metal arc welding can be dangerous if proper precautions are not taken. Since GMAW employs an electric arc, welders wear protective clothing, including heavy leather gloves and protective long sleeve jackets, to avoid exposure to extreme heat and flames. In addition, the brightness of the electric arc is a source of the condition known as arc eye, an inflammation of the cornea caused by ultraviolet light and, in prolonged exposure, possible burning of the retina in the eye. Conventional welding helmets contain dark face plates to prevent this exposure. Newer helmet designs feature a liquid crystal-type face plate that self-darken upon exposure to high amounts of UV light. Transparent welding curtains, made of a polyvinyl chloride plastic film, are often used to shield nearby workers and bystanders from exposure to the UV light from the electric arc.^[26]

Welders are also often exposed to dangerous gases and particulate matter. GMAW produces smoke containing particles of various types of oxides, and the size of the particles in question tends to influence the toxicity of the fumes, with smaller particles presenting a greater danger. Additionally, carbon dioxide and ozone gases can prove dangerous if ventilation is inadequate. Furthermore, because the use of compressed gases in GMAW pose an explosion and fire risk, some common precautions include limiting the amount of oxygen in the air and keeping combustible materials away from the workplace.^[27]

Metal transfer modes[link]

The three transfer modes in GMAW are globular, short-circuiting, and spray. There are a few recognized variations of these three transfer modes including modified short-circuiting and pulsed-spray.^[28]

Globular[link]

GMAW with globular metal transfer is often considered the most undesirable of the three major GMAW variations, because of its tendency to produce high heat, a poor weld surface, and spatter. The method was originally developed as a cost efficient way to weld steel using GMAW, because this variation uses carbon dioxide, a less expensive shielding gas than argon. Adding to its economic advantage was its high deposition rate, allowing welding speeds of up to 110 mm/s (250 in/min).^[29] As the weld is made, a ball of molten metal from the electrode tends to build up on the end of the electrode, often in irregular shapes with a larger diameter than the electrode itself. When the droplet finally detaches either by gravity or short circuiting, it falls to the workpiece, leaving an uneven surface and often causing spatter.^[30] As a result of the large molten droplet, the process is generally limited to flat and horizontal welding positions. The high amount of heat generated also is a downside, because it forces the welder to use a larger electrode wire, increases the size of the weld pool, and causes greater residual stresses and distortion in the weld area.^{[citation needed]}

Short-circuiting[link]

Further developments in welding steel with GMAW led to a variation known as short-circuit transfer (SCT) or short-arc GMAW, in which the current is lower than for the globular method. As a result of the lower current, the heat input for the short-arc variation is considerably reduced, making it possible to weld thinner materials while decreasing the amount of distortion and residual stress in the weld area. As in globular welding, molten droplets form on the tip of the electrode, but instead of dropping to the weld pool, they bridge the gap between the electrode and the weld pool as a result of the lower wire feed rate. This causes a short circuit and extinguishes the arc, but it is quickly reignited after the surface tension of the weld pool pulls the molten metal bead off the electrode tip. This process is repeated about 100 times per second, making the arc appear constant to the human eye. This type of metal transfer provides better weld quality and less spatter than the globular variation, and allows for welding in all positions, albeit with slower deposition of weld material. Setting the weld process parameters (volts, amps and wire feed rate) within a relatively narrow band is critical to maintaining a stable arc: generally between 100 to 200 amps at 17 to 22 volts for most applications. Also, using short-arc transfer can result in lack of fusion and insufficient penetration when welding thicker materials, due to the lower arc energy and rapidly freezing weld pool.^[31] Like the globular variation, it can only be used on ferrous metals.^[14][32][33]

Spray[link]

Spray transfer GMAW was the first metal transfer method used in GMAW, and well-suited to welding aluminum and stainless steel while employing an inert shielding gas. In this GMAW process, the weld electrode metal is rapidly passed along the stable electric arc from the electrode to the workpiece, essentially eliminating spatter and resulting in a high-quality weld finish. As the current and voltage increases beyond the range of short circuit transfer the weld electrode metal transfer transitions from larger globules through small droplets to a vaporized stream at the highest energies.^[34] Since this vaporized spray transfer variation of the GMAW weld process requires higher voltage and current than short circuit transfer, and as a result of the higher heat input and larger weld pool area (for a given weld electrode diameter), it is generally used only on workpieces of thicknesses above about 6.4 mm (0.25 in).^[35] Also, because of the large weld pool, it is often limited to flat and horizontal welding positions and sometimes also used for vertical-down welds. It is generally not practical for root pass welds.^[36] When a smaller electrode is used in conjunction with lower heat input, its versatility increases. The maximum deposition rate for spray arc GMAW is relatively high; about 60 mm/s (150 in/min).^[14][29][37]

Pulsed-spray[link]

A variation of the spray transfer mode, pulse-spray is based on the principles of spray transfer but uses a pulsing current to melt the filler wire and allow one small molten droplet to fall with each pulse. The pulses allow the average current to be lower, decreasing the overall heat input and thereby decreasing the size of the weld pool and heat-affected zone while making it possible to weld thin workpieces. The pulse provides a stable arc and no spatter, since no short-circuiting takes place. This also makes the process suitable for nearly all metals, and thicker electrode wire can be used as well. The smaller weld pool gives the variation greater versatility, making it possible to weld in all positions. In comparison with short arc GMAW, this method has a somewhat slower maximum speed (85 mm/s or 200 in/min) and the process also requires that the shielding gas be primarily argon with a low carbon dioxide concentration. Additionally, it requires a special power source capable of providing current pulses with a frequency between 30 and 400 pulses per second. However, the method has gained popularity, since it requires lower heat input and can be used to weld thin workpieces, as well as nonferrous materials.^{[14][38][39][40]}

References[link]

Bibliography[link]

Further reading[link]

• Blunt, Jane; Balchin, Nigel C. (2002). Health and Safety in Welding and Allied Processes. Cambridge, UK: Woodhead. ISBN 1-85573-538-5. 
• Hicks, John (1999). Welded Joint Design. Industrial Press. ISBN 0-8311-3130-6. 
• Trends in Welding Research. Materials Park, Ohio: ASM International. 2003. ISBN 0-87170-780-2. 

External links[link]

Wikimedia Commons has media related to: Gas metal arc welding

• ESAB Process Handbook
• OSHA Safety and Health Topics- Welding, Cutting, and Brazing
• Fume formation rates in gas metal arc welding – research article from the 1999 Welding Journal

The Good, the Bad and the Ugly (Italian: Il buono, il brutto, il cattivo) is a 1966 Italian epic Spaghetti western film directed by Sergio Leone, starring Clint Eastwood, Lee Van Cleef, and Eli Wallach in the title roles.^[3] The screenplay was written by Age & Scarpelli, Luciano Vincenzoni and Leone, based on a story by Vincenzoni and Leone. Director of photography Tonino Delli Colli was responsible for the film's sweeping widescreen cinematography and Ennio Morricone composed the famous film score, including its main theme. It is the third film in the Dollars Trilogy following A Fistful of Dollars (1964) and For a Few Dollars More (1965). The plot revolves around three gunslingers competing to find a fortune in buried Confederate gold amid the violent chaos of gunfights, hangings, American Civil War battles and prison camps.^[4]

Plot[link]

In a desolate ghost town during the American Civil War, bandit Tuco Ramirez ("The Ugly," Eli Wallach) narrowly shoots his way past three bounty hunters to freedom, killing two but only badly wounding the third. Miles away, Angel Eyes ("The Bad," Lee Van Cleef) interrogates a former soldier called Stevens (Antonio Casas) about a missing man named Jackson who has taken on the name "Bill Carson" (Antonio Casale) and a cache of stolen Confederate gold. He brutally guns down Stevens and his eldest son after the interrogation, but not before Stevens pays Angel Eyes to kill Angel Eyes' employer, another former soldier named Baker. Angel Eyes later collects his fee for Stevens' killing from Baker, and then shoots and kills him, too.

Meanwhile, during Tuco's flight across the desert he runs into a group of bounty hunters who prepare to capture him when they are approached by Blondie ("The Good," Clint Eastwood), a mysterious lone gunman who challenges the hunters to the draw, which he wins with lightning speed. Initially elated, Tuco is enraged when Blondie delivers him up to the local authorities for the reward money of $2,000. Hours later, as Tuco awaits his execution, Blondie surprises the authorities and frees Tuco by shooting the execution rope; the two later meet to split the reward money, revealing their lucrative money-making scheme. After Tuco's bounty is raised to $3,000, the two repeat the process at another town before Blondie, weary of Tuco's incessant complaints about the dividing of the profits from their scheme, abandons him in the desert, keeping all of the money. A livid Tuco manages to make it to another town and rearm himself with a revolver. Some time later in another town, Tuco enlists three outlaws to come with him to kill Blondie. As the three men break into Blondie's room, Blondie shoots and kills all three of them, but to Blondie's surprise Tuco climbs up through his back window and aims his gun at Blondie and captures him while a skirmish between Union and Confederate troops rages on outside. As Tuco prepares to kill Blondie by fashioning a noose and forcing Blondie to put it around his neck, a cannonball hits the hotel and demolishes the room, allowing Blondie to escape.

Following a relentless search, Tuco captures Blondie using the same scheme with another partner (Tuco doesn't allow Blondie to shoot the rope this time and the unfortunate "Shorty" is hanged) and marches him across the harsh desert. When Blondie finally collapses from dehydration and heatstroke, Tuco prepares to kill him but pauses when a runaway ambulance carriage appears on the horizon heading their way. Inside, while looting the dead soldiers, Tuco discovers a dying Bill Carson, who reveals that $200,000 in stolen Confederate gold is buried in a grave in Sad Hill cemetery but falls unconscious before naming the grave. When Tuco returns with water, he discovers Carson dead and Blondie slumped against the carriage beside Carson's body. Before passing out, Blondie says that Carson told him the name on the grave, so now Tuco and Blondie know half of the secret of the location but neither can get the gold without the help of the other. Tuco takes Blondie (both disguised as Confederate soldiers) to a Catholic mission run by Tuco's older brother Father Pablo. Tuco nurses Blondie back to health, and the two leave, still disguised. They inadvertently encounter a force of Union soldiers (whom they take for Confederates due to thick coatings of grey dust on their uniforms). They are captured and marched to a Union prison camp.

At the camp, Corporal Wallace (Mario Brega) calls the roll. Tuco answers for Bill Carson, catching the attention of Angel Eyes, now disguised as a Union Sergeant stationed at the camp. Angel Eyes has Wallace viciously beat and torture Tuco into revealing Sad Hill Cemetery as the location of the gold, but Tuco also confesses that only Blondie knows the name on the grave. Convinced that Blondie would not be easily broken, Angel Eyes offers to take Tuco's place in the partnership to recover the gold. Blondie agrees and rides out with Angel Eyes and his posse. Meanwhile, Tuco escapes while being transported by train to his execution, killing Corporal Wallace in the process.

We next see Angel Eyes' gang, including Blondie, arriving in a town that's rapidly being evacuated due to heavy artillery fire. Tuco, wandering aimlessly through the wreckage of that same town, is oblivious of the bounty hunter that survived at the start of the movie (Al Mulock), who tracks and ambushes Tuco who is taking a bath in an abandoned building. Despite the surprise, Tuco shoots and kills the bounty hunter. Blondie investigates the gunshot, finding Tuco and informing him of Angel Eyes's involvement. The two resume their old partnership, stalking through the wrecked town and killing Angel Eyes' henchmen before discovering that Angel Eyes has escaped and left an insulting note for them.

Tuco and Blondie find their way to Sad Hill Cemetery, but it is blocked by large Union and Confederate forces who are separated only by a narrow bridge. Each side is preparing to fight for it, but apparently both sides have been ordered not to destroy the bridge. Reasoning that if the bridge were destroyed "these idiots would go somewhere else to fight", Blondie and Tuco wire the bridge with dynamite. During the process, the two trade information, Tuco revealing Sad Hill Cemetery as the gold's location and Blondie saying that the name on the grave is Arch Stanton. The two then take cover as the bridge blows up and the two armies resume their battle. The next morning, the Confederate and Union soldiers have gone. Tuco abandons Blondie (who has stopped to tend to a dying young Confederate soldier) to retrieve the gold for himself at the cemetery. Frantically searching the sea of makeshift tombstones and grave markers, Tuco finally locates Arch Stanton's grave. As he digs, Blondie appears (now clad in his trademark poncho) and tosses him a shovel. A second later, the two are surprised by Angel Eyes, who holds them at gunpoint. Blondie kicks open Stanton's grave to reveal just a skeleton. Declaring that only he knows the real name of the grave, Blondie writes it on a rock in the middle of the graveyard and tells Tuco and Angel Eyes that "two hundred thousand dollars is a lot of money. We're going to have to earn it."

The three stare each other down in the circular center of the cemetery, calculating alliances and dangers in a Mexican standoff before suddenly drawing. Blondie shoots Angel Eyes, who tries to shoot Blondie while he is down only to be shot by Blondie again and roll into an open grave, dead. Tuco also tries to shoot Angel Eyes, but discovers that Blondie had unloaded his gun the night before. Blondie directs Tuco to the grave marked "Unknown" next to Arch Stanton's. Tuco digs and is overjoyed to find bags of gold inside, but is shocked when he turns to Blondie and finds himself staring at a noose. Seeking a measure of revenge for what Tuco has done to him, Blondie forces Tuco to stand atop a tottery grave marker and fixes the noose around his neck, binding Tuco's hands before riding off with his share of the gold. As Tuco screams for mercy, Blondie's silhouette returns on the horizon, aiming a rifle at him. Blondie fires a single shot and severs the noose rope, just like old times, dropping Tuco face-first onto his share of the gold. Blondie smiles and rides off as Tuco, who has his gold but no horse, curses him in rage by shouting "Hey Blondie! You know what you are? Just a dirty son of a bitch!"

Cast[link]

The trio[link]

• Clint Eastwood as "Blondie": The Good, a.k.a. the Man with No Name, a subdued, cocksure bounty hunter who teams with Tuco, and Angel Eyes temporarily, to find the buried gold. Blondie and Tuco have an ambivalent partnership. Tuco knows the name of the cemetery where the gold is hidden, but Blondie knows the name of the grave where it is buried, forcing them to work together to find the treasure. In spite of this greedy quest, Blondie's pity for the dying soldiers in the chaotic carnage of the War is evident. "I've never seen so many men wasted so badly," he remarks.

Rawhide had ended its run as a series in 1966 and at that point neither of Clint Eastwood's Italian films had been released in the United States. When Leone offered him a role in his next movie, it was the only big film offer he had; however, Eastwood still needed to be convinced to do it. Leone and his wife traveled to California to persuade him. Two days later, he agreed to make the film upon being paid $250,000^[5] and getting 10% of the profits from the North American markets—a deal with which Leone was not happy.

• Lee Van Cleef as Angel Eyes: The Bad, a ruthless, unfeeling, and sociopathic mercenary named "Angel Eyes" (Sentenza—Sentence—in the original script and the Italian version), who always finishes a job he's paid for (which is usually finding—and killing—people). When Blondie and Tuco are captured while posing as Confederate soldiers, Angel Eyes is the Union sergeant who interrogates and tortures Tuco, eventually learning the name of the cemetery where the gold is buried, but not the name on the tombstone. Angel Eyes forms a fleeting partnership with Blondie, but Tuco and Blondie turn on Angel Eyes when they get their chance.

Originally, Leone wanted Charles Bronson to play Angel Eyes but he was already committed to playing in The Dirty Dozen (1967). Leone thought about working with Lee Van Cleef again: "I said to myself that Van Cleef had first played a romantic character in For a Few Dollars More. The idea of getting him to play a character who was the opposite of that began to appeal to me."^[6]

• Eli Wallach as Tuco: The Ugly, Tuco Benedicto Pacífico Juan María Ramírez, a comical, oafish (though proven also very dangerous as seen throughout the film), fast talking bandit who is wanted by the authorities for a long list of crimes. Tuco manages to discover the name of the cemetery where the gold is buried, but he does not know the name of the grave—only Blondie does. This state of affairs forces Tuco to become reluctant partners with Blondie.

The director originally considered Gian Maria Volonté for the role of Tuco, but felt that the role required someone with "natural comic talent". In the end, Leone chose Eli Wallach based on his role in How the West Was Won (1962), in particular, his performance in "The Railroads" scene.^[6] In LA, Leone met Wallach, who was skeptical about playing this type of character again, but after Leone screened the opening credit sequence from For a Few Dollars More, Wallach said: "When do you want me?"^[6] The two men got along famously, sharing the same bizarre sense of humor. Leone allowed Wallach to make changes to his character in terms of his outfit and recurring gestures. Both Eastwood and Van Cleef realized that the character of Tuco was close to Leone's heart, and director and Wallach became good friends. They communicated in French, which Wallach spoke badly and Leone spoke well. Van Cleef observed, "Tuco is the only one of the trio the audience gets to know all about. We meet his brother and find out where he came from and why he became a bandit. But Clint's character and Angel's remain mysteries."^[6]

In the theatrical trailer, Angel Eyes is referred to as The Ugly and Tuco, The Bad.^[7] This is due to a translation error; the original Italian title translates literally to "The Good, the Ugly, the Bad".

Supporting cast[link]

• Aldo Giuffrè as the Union Captain: A drunken Union officer who befriends Tuco and Blondie. He feels that the bloody confrontation his men are involved in is a futile waste, and dreams of destroying the bridge—a wish carried out by Blondie and Tuco. Mortally wounded in the Battle of Branstone Bridge, he dies smiling just after hearing the bridge's destruction. Giuffré was an Italian comedian who had become an actor.
• Mario Brega as Corporal Wallace: A thuggish prison guard who works for Angel Eyes and brutally tortures Tuco to get him to reveal the hidden location of the treasure. Angel Eyes turns Tuco over to Wallace so that he can turn Tuco in for the reward money. Tuco, however, kills Wallace and escapes. A butcher turned actor, the imposing, heavyset Brega was a mainstay in Leone's films and Spaghetti Westerns in general.
• Luigi Pistilli as Father Pablo Ramirez: Tuco's brother, a Catholic friar. He holds Tuco in contempt for his choice of life as a bandit, but ultimately loves him. Pistilli was a veteran of many Spaghetti Westerns, usually playing a villain (as in Leone's For a Few Dollars More).
• Al Mulock as One-armed Bounty Hunter: Wounded by Tuco in the early part of the film, he loses his right arm. He seeks revenge, only to be shot and killed by Tuco, leading to the line: "When you have to shoot, shoot! Don't talk." Mulock was a Canadian actor who later appeared in Once Upon a Time in the West as one of the three gunmen in the film's opening sequence. Still in costume, he committed suicide by jumping from a hotel window during the making of that film.
• Antonio Casas as Stevens: Killed by Angel Eyes, who was paid to carry out the killing by Baker. Casas was a Spanish footballer turned actor.
• Antonio Casale as Bill Carson/Jackson
• Sergio Mendizábal as blond bounty hunter. One of three bounty hunters killed by Blondie during an attempted arrest of Tuco.
• John Bartha as Sheriff. Takes custody of Tuco. Hat shot off by Blondie.
• Claudio Scarchilli as Pedro, a member of Tuco's Gang. Killed by Blondie.
• Sandro Scarchilli as 'Chico, a member of Tuco's Gang. Killed by Blondie.
• Antonio Molino Rojo as Captain Harper, the good captain at the Union prison camp who is slowly losing a leg to gangrene. Harper warns Angel Eyes not to be dishonest on his watch, but Angel Eyes holds him in contempt and deliberately ignores his orders. Rojo usually played henchmen in Leone's films and other Spaghetti Westerns, but here he played a more sympathetic character.
• Benito Stefanelli as Angel Eyes Gang Member. Henchman killed by Tuco. Leone's stunt coordinator who frequently had bit parts in Spaghetti Westerns.
• Aldo Sambrell as Angel Eyes Gang Member. Henchman killed by Blondie. Sambrell was a Spanish actor whose initially small parts in Spaghetti Westerns made him somewhat famous in his home country.
• Lorenzo Robledo as Clem, henchman sent to follow Blondie when he leaves Angel Eyes' hideout, after Tuco kills the bounty hunter. Blondie discovers him and shoots him in the stomach.
• Enzo Petito as the guileless store keeper robbed by Tuco.
• Livio Lorenzon as Baker, The Confederate soldier involved in the money scheme with Stevens and Carson.
• Rada Rassimov as Maria, a prostitute that is beaten up by Angel Eyes in order to get information about Bill Carson
• Chelo Alonso as Stevens' Wife. An Italian star of the sword and sandal films in the 50s and early 60s, she had worked with Leone on several of his films as an assistant director.

Development[link]

Pre-production[link]

After the success of For a Few Dollars More, executives at United Artists approached the film’s screenwriter, Luciano Vincenzoni, to sign a contract for the rights to the film and for the next one. He, producer Alberto Grimaldi and Sergio Leone had no plans, but with their blessing, Vincenzoni pitched an idea about “a film about three rogues who are looking for some treasure at the time of the American Civil War.”^[6] The studio agreed but wanted to know the cost for this next film. At the same time, Grimaldi was trying to broker his own deal but Vincenzoni’s idea was more lucrative. The two men struck an agreement with UA for a million dollar budget with the studio advancing $500,000 up front and 50% of the box office takings outside of Italy. The total budget would eventually be $1.3 million.

Leone built upon the screenwriter’s original concept to “show the absurdity of war...the Civil War which the characters encounter. In my frame of reference, it is useless, stupid: it does not involve a 'good cause.'"^[6] An avid history buff, Leone said, “I had read somewhere that 120,000 people died in Southern camps such as Andersonville. I was not ignorant of the fact that there were camps in the North. You always get to hear about the shameful behavior of the losers, never the winners.”^[6] The Batterville Camp where Blondie and Tuco are imprisoned was based on steel engravings of Andersonville. Many shots in the film were influenced by archival photographs taken by Mathew Brady. As the film took place during the Civil War, it served as a prequel for the other two films in the trilogy, which took place after the war.^[8]

While Leone developed Vincenzoni’s idea into a script, the screenwriter recommended the comedy-writing team of Agenore Incrucci and Furio Scarpelli to work on it with Leone and Sergio Donati. According to Leone, "I couldn’t use a single thing they’d written. It was the grossest deception of my life."^[6] Donati agreed, saying, "There was next to nothing of them in the final script. They only wrote the first part. Just one line."^[6] Vincenzoni claims that he wrote the screenplay in 11 days, but he soon left the project after his relationship with Leone soured. The three main characters all contain autobiographical elements of Leone. In an interview he said, "[Sentenza] has no spirit, he's a professional in the most banal sense of the term. Like a robot. This isn't the case with the other two. On the methodical and careful side of my character, I’d be nearer il Biondo (Blondie): but my most profound sympathy always goes towards the Tuco side...He can be touching with all that tenderness and all that wounded humanity.”^[6]

Eastwood received a percentage-based salary, unlike the first two films where he received a straight fee salary. When Lee Van Cleef was again cast for another Dollars film, he joked "the only reason they brought me back was because they forgot to kill me off in For A Few Dollars More."^[8]

The film’s working title was I due magnifici straccioni (The Two Magnificent Tramps). It was changed just before shooting began when Vincenzoni thought up Il buono, il brutto, il cattivo (The Good, the Ugly, the Bad), which Leone loved. In the United States, United Artists considered using the original Italian translation, River of Dollars, or The Man With No Name, but decided on The Good, the Bad and the Ugly.^[7]

Production[link]

Filming began at the Cinecittà studio in Rome again in mid-May 1966, including the opening scene between Clint and Wallach when The Man With No Name captures Tuco for the first time and sends him to jail.^[9] The production then moved on to Spain's plateau region near Burgos in the north, which doubled for the southwestern United States, and again shot the western scenes in Almería in the south.^[10] This time the production required more elaborate sets, including a town under cannon fire, an extensive prison camp and an American Civil War battlefield; and for the climax, several hundred Spanish soldiers were employed to build a cemetery with several thousand grave stones to resemble an ancient Roman circus.^[10] For the scene where the bridge was destroyed, it had to be filmed twice as the first time none of the three cameras were filming it being destroyed by dynamite.^[11] The Spanish government approved production and provided the army for technical assistance; the film's cast includes 1,500 local militia members as extras.^{[citation needed]} Eastwood remembers, "They would care if you were doing a story about Spaniards and about Spain. Then they’d scrutinize you very tough, but the fact that you're doing a western that’s supposed to be laid in southwest America or Mexico, they couldn’t care less what your story or subject is."^[6] Top Italian cinematographer Tonino Delli Colli was brought in to shoot the film and was prompted by Leone to pay more attention to light than in the previous two films; Ennio Morricone composed the score once again. Leone was instrumental in asking Morricone to compose a track for the final Mexican stand-off scene in the cemetery, asking him to compose what felt like "the corpses were laughing from inside their tombs", and asked Delli Colli to creating a hypnotic whirling effect interspersed with dramatic extreme close ups, to give the audience the impression of a visual ballet.^[10] Filming concluded in July 1966.^[5]

Eastwood was not initially pleased with the script and was concerned he might be upstaged by Wallach, and said to Leone, "In the first film I was alone. In the second, we were two. Here we are three. If it goes on this way, in the next one I will be starring with the American cavalry".^[12] As Eastwood played hard-to-get in accepting the role (inflating his earnings up to $250,000, another Ferrari^[13] and 10% of the profits in the United States when eventually released there), Eastwood was again encountering publicist disputes between Ruth Marsh, who urged him to accept the third film of the trilogy, and the William Morris Agency and Irving Leonard, who were unhappy with Marsh's influence on Clint.^[12] Eastwood banished Marsh from having any further influence in his career and he was forced to sack her as his business manager via a letter sent by Frank Wells.^[12] For some time after, Eastwood's publicity was handled by Jerry Pam of Gutman and Pam.^[9]

Wallach and Eastwood flew to Madrid together and between shooting scenes, Eastwood would relax and practice his golf swing.^[14] Wallach was almost poisoned during filming when he accidentally drank from a bottle of acid that a film technician had set next to his soda bottle. Wallach mentioned this in his autobiography^[15] and complained that while Leone was a brilliant director, he was very lax about ensuring the safety of his actors during dangerous scenes.^[6] For instance, in one scene, where he was to be hanged after a pistol was fired, the horse underneath him was supposed to bolt. While the rope around Wallach's neck was severed, the horse was frightened a little too well. It galloped for about a mile with Wallach still mounted and his hands bound behind his back.^[6] The third time Wallach's life was threatened was during the scene where he and Mario Brega—who are chained together—jump out of a moving train. The jumping part went as planned, but Wallach's life was endangered when his character attempts to sever the chain binding him to the (now dead) henchman. Tuco places the body on the railroad tracks, waiting for the train to roll over the chain and sever it. Wallach, and presumably the entire film crew, were not aware of the heavy iron steps that jutted one foot out of every box car. If Wallach had stood up from his prone position at the wrong time, one of the jutting steps could have decapitated him.^[6] The bridge in the film was reconstructed twice by sappers of the Spanish army after being rigged for on-camera explosive demolition. The first time, an Italian camera operator signaled that he was ready to shoot, which was misconstrued by an army captain as the similar sounding Spanish word meaning "start". Luckily, nobody was injured in the erroneous mistiming. The army rebuilt the bridge while other shots were filmed. As the bridge was not a prop but a rather heavy and sturdy structure, powerful explosives were required to destroy it.^[6] Leone has said that this scene was, in part, inspired by Buster Keaton’s silent film, The General.

As an international cast was employed, actors performed in their native languages. Eastwood, Van Cleef and Wallach spoke English, and were dubbed into Italian for the debut release in Rome. For the American version, the lead acting voices were used, but supporting cast members were dubbed into English. The result is noticeable in the bad synchronization of voices to lip movements on screen; none of the dialogue is completely in sync because Leone rarely shot his scenes with synchronized sound. Various reasons have been cited for this: Leone often liked to play Morricone's music over a scene and possibly shout things at the actors to get them in the mood. Leone cared more for visuals than dialogue (his English was limited, at best). Given the technical limitations of the time, it would have been difficult to record the sound cleanly in most of the extremely wide shots Leone frequently used. Also, it was standard practice in Italian films at this time to shoot silently and post-dub. Whatever the actual reason, all dialogue in the film was recorded in post-production. The relationship between Eastwood and Leone had remained strained from their previous collaboration and it only worsened during the dubbing sessions for the US version because the actor was presented with a different script than the one they had shot with. He refused to read from this new version, insisting on using the shooting script instead.

Leone was unable to find an actual cemetery for the Sad Hill shootout scene, so the Spanish pyrotechnics chief hired 250 Spanish soldiers to build one in Carazo near Salas de los Infantes, which they completed in two days.^[16]

Set of The Good, the Bad and the Ugly with the distinctive rugged terrain in the background

By the end of filming, Eastwood had finally had enough of Leone's perfectionist directorial traits, who, often forcefully, insisted on shooting scenes from many different angles, paying attention to the most minute of details, which would often exhaust the actors.^[14] Leone, a glutton, was also a source of amusement for his excesses, and Eastwood found a way to deal with the stresses of being directed by him by making jokes about him and nicknamed him "Yosemite Sam" for his bad temperament.^[14] Eastwood was never directed by Leone again, later turning down the role as Harmonica in Once Upon a Time in the West (1968) in which Leone had personally flown to Los Angeles to give him the script for, which eventually went to Charles Bronson.^[17] Years later, Leone exacted his revenge upon Clint during the filming of Once Upon a Time in America (1984) when he described Eastwood's abilities as an actor as being like a block of marble or wax and inferior to the acting abilities of Robert De Niro, saying, "Eastwood moves like a sleepwalker between explosions and hails of bullets, and he is always the same—a block of marble. Bobby first of all is an actor, Clint first of all is a star. Bobby suffers, Clint yawns."^[18] Eastwood later gave his friend the poncho he wore in the three films, where it was hung in a Mexican restaurant in Carmel, California.^[19]

Release[link]

The Good, the Bad and the Ugly was not released in the US until December 1967.^[20] The original Italian domestic version was 2 hours, 57 minutes long; but the international version was 2 hours, 41 minutes—16 minutes shorter.

Given that the Italian Il buono, il brutto, il cattivo literally translates to the English: The Good, the Ugly, the Bad, reversing the last two adjectives, advertisements for the original Italian release show Tuco before Angel Eyes, and, when translated into English, erroneously label Angel Eyes as "The Ugly" and Tuco as "The Bad".

Opening on December 15, 1966 in Italy and in the United States on December 23, 1967, the film grossed $6.3 million.^[21]

Critical reception[link]

The Good, the Bad and the Ugly was criticized for its depiction of violence.^[22] Leone explains that "the killings in my films are exaggerated because I wanted to make a tongue-in-cheek satire on run-of-the-mill westerns... The west was made by violent, uncomplicated men, and it is this strength and simplicity that I try to recapture in my pictures."^[23] To this day, Leone's effort to reinvigorate the timeworn Western is widely acknowledged.^[24]

Critical opinion of the film on initial release was mixed as many reviewers at that time looked down on spaghetti westerns. In a negative review in The New York Times, critic Renata Adler said that the film "must be the most expensive, pious and repellent movie in the history of its peculiar genre."^[25] Charles Champlin of the Los Angeles Times wrote that the "temptation is hereby proved irresistible to call The Good, The Bad and the Ugly, now playing citywide, The Bad, The Dull, and the Interminable, only because it is."^[26] Roger Ebert, who later included the film in his list of Great Movies,^[27] retrospectively noted that in his original review he had "described a four-star movie but only gave it three stars, perhaps because it was a 'spaghetti western' and so could not be art".^[28] Ebert also points out Leone's unique perspective that enables the audience to be closer to the character as we see what he sees.

Despite the original negative reception, today, the film has since accumulated very positive feedback. It remains one of the most popular and well known westerns and is considered to be one of the greatest of its genre. It is in Time's "100 Greatest movies of the last century" as selected by critics Richard Corliss and Richard Schickel.^[24] Review aggregator Rotten Tomatoes reports that 97% percent of film critics gave the film positive reviews.^[29][30][31] The Good, the Bad and the Ugly has been described as European cinema's best representation of the Western genre film,^[32] and Quentin Tarantino has called it "the best-directed film of all time" and "the greatest achievement in the history of cinema."^[33] This was reflected in his vote for a 2002 Sight & Sound magazine poll, in which he voted for The Good, the Bad and the Ugly as his choice for the best film ever made.^[34]

Empire magazine added The Good, the Bad and the Ugly to their Masterpiece collection in the September 2007 issue and in their poll of "The 500 Greatest Movies," "The Good, the Bad and the Ugly" was voted in at number 25.

Home media[link]

The film was first released on DVD by MGM in 1998. The special features contain 14 minutes of scenes that were cut for the film's North American release, including a scene which explains how Angel Eyes came to be waiting for Blondie and Tuco at the Union prison camp.

In 2002, the film was restored with the 14 minutes of scenes cut for US release re-inserted into the film. Clint Eastwood and Eli Wallach were brought back in to dub their characters' lines more than 35 years after the film's original release. Voice actor Simon Prescott substituted for Lee Van Cleef who had died in 1989. Other voice actors filled in for actors who had since died. In 2004, MGM released this version in a two-disc special edition DVD.

Disc 1 contains an audio commentary with writer and critic Richard Schickel. Disc 2 contains two documentaries, "Leone's West" and "The Man Who Lost The Civil War", followed by the featurette, "Restoring 'The Good, the Bad, and the Ugly'"; an animated gallery of missing sequences entitled, "The Socorro Sequence: A Reconstruction"; an extended Tuco torture scene; a featurette called "Il Maestro"; an audio featurette named, "Il Maestro, Part 2"; a French trailer; and a poster gallery.^[35]

This DVD was generally well received, though some purists complained about the re-mixed stereo soundtrack with many completely new sound effects (notably, all the gunshots were replaced), with no option for the original soundtrack. At least one scene that was re-inserted had been cut by Leone prior to the film's release in Italy, but had been shown once at the Italian premiere. According to Richard Schickel,^[35] Leone willingly cut the scene for pacing reasons; thus, restoring it was contrary to the director's wishes.^{[citation needed]} The 1998 DVD with the original US version of the mono soundtrack is still available in stores, although the sound quality is vastly inferior to that on the restored DVD. (Unlike the original DVD releases of the other two "Dollars" films, the transfer is anamorphically enhanced for 16:9 televisions.)

MGM re-released the 2004 DVD edition in their "Sergio Leone Anthology" box set in 2007. Also included were the two other "Dollars" films, and A Fistful of Dynamite.

On May 12, 2009 the extended version of this movie was released on Blu-ray. It contains the same special features as the 2004 special edition DVD, except that it includes an added commentary by film historian Sir Christopher Frayling.

Deleted scenes[link]

The following scenes were originally deleted from the theatrical version of the film but re-inserted following the release of the 2004 Special Edition DVD.^[35]

• After being betrayed by Blondie, surviving the desert on his way to civilization and assembling a hybrid revolver from parts of various original makes, Tuco meets with members of his gang in a distant cave, where he conspires with them to hunt and kill Blondie.
• During his search for Bill Carson, Angel Eyes stumbles upon an embattled Confederate outpost after a massive artillery bombardment. Once there, after witnessing the wretched conditions of the survivors, he bribes a Confederate NCO for clues about Bill Carson.
• The sequence with Tuco and Blondie crossing the desert has been extended: Tuco mentally tortures a severely dehydrated Blondie by eating and drinking in front of him.
• Tuco, transporting a dehydrated Blondie, finds a Confederate camp whose occupants tell him that Brother Ramirez's monastery is nearby.
• Tuco and Blondie discuss their plans when departing in a wagon from Brother Ramirez's monastery.
• A scene where Blondie and Angel Eyes are resting by a creek when a man appears and Blondie shoots him. Angel Eyes asks the rest of his men to come out (all are hidden as well). When the five men come out, Blondie counts them (including Angel Eyes), and concludes that six is the perfect number. Angel Eyes asks him why, mentioning that he had heard that three was the perfect number. Blondie responds that six is the perfect number, because he has six bullets left in his revolver.
• The sequence with Tuco, Blondie and the Union Captain has been extended: the Captain asks the pair questions about their pasts, which they are reluctant to answer.

Additional footage of the sequence where Tuco is tortured by Angel Eyes' henchman was discovered. The original negative of this footage was deemed too badly damaged to be used in the theatrical cut, but the footage appears as an extra in the 2004 DVD supplementary features.

Lost footage of the missing Socorro Sequence where Tuco continues his search for Blondie in a Texican pueblo while Blondie is in a hotel room with a Mexican woman (Silvana Bacci) is reconstructed with photos and unfinished snippets from the French trailer. Also, in the documentary "Reconstructing The Good, the Bad, and the Ugly," what looks to be footage of Tuco lighting cannons before the Ecstasy of Gold sequence appears briefly. None of these scenes or sequences appear in the 2004 re-release, however, but are in the supplementary features.

Music[link]

	The Good, The Bad And The Ugly main theme noicon From The Good, the Bad and the Ugly soundtrack by Ennio Morricone
Problems listening to this file? See media help.

The score is composed by frequent Leone collaborator Ennio Morricone, whose distinctive original compositions, containing gunfire, whistling (by John O'Neill), and yodeling permeate the film. The main theme, resembling the howling of a coyote (which blends in with an actual coyote howl in the first shot after the opening credits), is a two-note melody that is a frequent motif, and is used for the three main characters. A different instrument was used for each: flute for Blondie, ocarina for Angel Eyes and human voices for Tuco.^{[36][37][38][39]} The score complements the film's American Civil War setting, containing the mournful ballad, "The Story of a Soldier", which is sung by prisoners as Tuco is being tortured by Angel Eyes.^[4] The film's climax, a three-way Mexican standoff, begins with the melody of "The Ecstasy of Gold" and is followed by "The Trio."

The main theme was a hit in 1968 with the soundtrack album on the charts for more than a year,^[39] reaching No. 4 on the Billboard pop album chart and No. 10 on the black album chart.^[40] The main theme was also a hit for Hugo Montenegro, whose rendition was a No. 2 Billboard pop single in 1968.^[41] In popular culture, the American New Wave group Wall of Voodoo performed a medley of Ennio Morricone's movie themes, including the theme for this movie. The only known recording of it is a live performance on The Index Masters. Punk rock band the Ramones played this song as the opening for their live album Loco Live as well as in concerts until their disbandment in 1996. The British heavy metal band Motörhead played the main theme as the overture music on the 1981 "No sleep 'til Hammersmith" tour. American heavy metal band, Metallica has run "The Ecstasy of Gold" as prelude music at their concerts since 1985 (except 1996–1998), and recently recorded a version of the instrumental for a compilation tribute to Morricone.^[42] XM Satellite Radio's The Opie & Anthony Show also open every show with "The Ecstasy of Gold". The American punk rock band The Vandals song "Urban Struggle" begins with the main theme. A song from the band Gorillaz is named "Clint Eastwood", and features references to the actor, with the iconic yell featured in The Good, the Bad and the Ugly's score heard at the beginning of the video.^[43] The film itself has been widely sampled: Punk band Big Audio Dynamite used an audio clip from the movie in its song "Medicine Show"; the audio was taken from the scene in which a judge, after reading a long list of criminal charges, sentences Tuco to be "hanged from the neck until dead." Also, the song "You Know What You Are" from the 1988 album The Land of Rape and Honey by industrial metal group Ministry repeats the song title (a portion of Tuco's final epithet at Blondie) as a background sample.

In popular culture[link]

The film's title has entered the English language as an idiomatic expression. Typically used when describing something thoroughly, the respective phrases refer to upsides, downsides and the parts that could, or should have been done better, but were not.^[44][45]

The film was novelized in 1967 by Joe Millard as part of the "Dollars Western" series based on the "Man with No Name". The South Korean western movie The Good, the Bad, the Weird (2008) is inspired by the film, with much of its plot and character elements borrowed from Leone's film.^[46] In his introduction to the 2003 revised edition of his novel The Dark Tower: The Gunslinger, Stephen King revealed that the film was a primary influence for the Dark Tower series, and that Eastwood's character specifically inspired the creation of King's protagonist, Roland Deschain.^[47]

References[link]

Bibliography[link]

• Eliot, Marc (2009). American Rebel: The Life of Clint Eastwood. Harmony Books. ISBN 978-0-307-33688-0. 
• Hughes, Howard (2009). Aim for the Heart. London: I.B. Tauris. ISBN 978-1-84511-902-7. 
• McGilligan, Patrick (1999). Clint: The Life and Legend. Harper Collins. ISBN 0-00-638354-8. 
• Munn, Michael (1992). Clint Eastwood: Hollywood's Loner. London: Robson Books. ISBN 0-86051-790-X. 

External links[link]

Wikiquote has a collection of quotations related to: The Good, the Bad and the Ugly

• The Good, the Bad and the Ugly at the Internet Movie Database
• The Good, the Bad and the Ugly at AllRovi
• The Good, the Bad and the Ugly at Rotten Tomatoes
• The Good, the Bad and the Ugly at Metacritic
• The Good, the Bad, and the Ugly Book

v t e Cinema of Italy Actors · Directors · Animation · Cinematographers · Composers  · Editors · Producers · Screenwriters Films A-Z · Films by year: 1910 · 1911 · 1912 · 1913 · 1914 · 1915 · 1916 · 1917 · 1918 · 1919 · 1920 · 1921 · 1922 · 1923 · 1924 · 1925 · 1926 · 1927 · 1928 · 1929 · 1930 · 1931 · 1932 · 1933 · 1934 · 1935 · 1936 · 1937 · 1938 · 1939 · 1940 · 1941 · 1942 · 1943 · 1944 · 1945 · 1946 · 1947 · 1948 · 1949 · 1950 · 1951 · 1952 · 1953 · 1954 · 1955 · 1956 · 1957 · 1958 · 1959 · 1960 · 1961 · 1962 · 1963 · 1964 · 1965 · 1966 · 1967 · 1968 · 1969 · 1970 · 1971 · 1972 · 1973 · 1974 · 1975 · 1976 · 1977 · 1978 · 1979 · 1980 · 1981 · 1982 · 1983 · 1984 · 1985 · 1986 · 1987 · 1988 · 1989 · 1990 · 1991 · 1992 · 1993 · 1994 · 1995 · 1996 · 1997 · 1998 · 1999 · 2000 · 2001 · 2002 · 2003 · 2004 · 2005 · 2006 · 2007 · 2008 · 2009 · 2010 · 2011