Django (1966 film)

1966 film directed by Sergio Corbucci

Django is a 1966 Spaghetti Western film about a coffin-dragging drifter who becomes embroiled in a destructive feud between a Ku Klux Klan-esque gang of Confederate racists and a band of Mexican revolutionaries.

The title of a film you'll never forget!
Directed by Sergio Corbucci. Written by Sergio Corbucci, Bruno Corbucci, Franco Rossetti, José Gutiérrez Maesso, Piero Vivarelli and Fernando Di Leo. English version by G. Copleston. Based on Akira Kurosawa's Yojimbo.
A century ago on the low hills along the border between the southern states and turbulent Mexico, a mystery man appeared... a man with a sad, impenetrable face. Who was that man? What was his secret?  (taglines)


[two Klansmen are holding María while two others are tying two wooden poles to make a cross]
Klansman #1: You can relax for a minute, till we build a fire under that cross, with you on top of it. Did you have fun… with the Mexicans?
Klansman #2: Burnin’s a lot better… than getting beaten to death!
[Django walks up to the Klansmen and María]
Whatever I'm doing here is none of your business.
Klansman #1: Are you here to bury the dead, huh? Then you’re in business, and here’s your first customers.
Django: Whatever I’m doing here is none of your business.
Klansman #1: Careful, mister. From the way you talk, I get the idea you wanna be helped into that box you’re lugging around!
Django: Could be.
Klansman #1: You’re a Yankee, ain’t ya?
Django: I fought for the North.
Klansman #1: We don’t take much to folks who fought for the North – get the idea?
Django: Yeah, I get the idea. Yeah.
Klansman #2: What the hell are we worrying about him for? Let’s finish the girl off!
Django: A woman shouldn’t be treated in that way.
Klansman #1: What’s that you said?
Django: It’s not important. And if I bothered you, will you accept my apology? [shoots the Klansmen, and approaches María] My name is Django. No one will hurt you anymore, as long as you’re with me. [María attempts to cross the wooden bridge in front of them] You can’t go far alone. That bridge isn’t exactly where I’m headed for, now. I got some business in town – a personal matter. Tell me your name.
María: María.
Django: Let’s go, María. [shoots a Klansman, who falls into the quicksand below]

Nathaniel: If you're a coffin-maker… sure did pick a good town to settle, sure did.
Django: Haven't had many clients so far.
Nathaniel: Well, don't worry - you will. What, with Hugo's Mexican renegades and the rebels under Major Jackson… fightin' their own private war, why, this whole town's been ruined. It's a dead city. Regular ghost town.
Django: So your girls are pleasuring phantoms?
Nathaniel: Well, I wouldn't say that. Sometimes, there's Hugo's Mexicans, and sometimes there's… Major Jackson's men. You know how it is - we try to please 'em both if we can.
Django: How do you do that?
Nathaniel: Well, there's an agreement of sorts. 'Round here's no trouble. But for the privilege of staying alive, we sure pay dearly. You're a stranger around here, ain't ya? So… so you don't know Major Jackson, do ya? [Django doesn't answer] I… I said you don't know Major Jackson, do ya?
Django: Who I know or who I don't is no concern of yours. Get it?

Saloon Girl #1: You know, you sure are a brave man to tote that girl around. Or maybe you’re not afraid of the Mexicans, or of Jackson?
Django: I’m not afraid of anyone.
Saloon Girl #1: Oh, aren’t you? You got guts, honey! Ah, my, ah… my girlfriends are afraid of what’s in that box. But it doesn’t really frighten me. After all, a coffin’s a coffin. Is there someone inside?
Django: Yeah, and his name is Django.

Jackson: Say, you must be a pretty courageous fella to talk that way to Ringo. Courageous… or just plain crazy. Like that damn Yankee, who killed five of my men up near the river.
Django: Must’ve been… a pretty good shot. To kill five of your men. Being outnumbered like that, I mean.
Jackson: Now, that man had a woman with him also; white trash. Sold herself to the Mexicans. She’s a traitor… to our cause, sir.
Django: The war… is over. And these things don’t much matter anymore, do they?
Jackson: I got my own private war goin’ on. I reckon maybe that’s a war you haven’t heard about. You sure are smart, hombre – carrying around your burial suit. I like that; be handy. We can put you in it, instead of leaving your body to poison the vultures, like we do with the rest of your kind!
Django: Are you carrying out a war… against the poor vultures too, Major? Why don’t you leave them out of it?
Jackson: Well, men, did you hear what our friend said? What do you say we prepare him for his burial?
[Django shoots Jackson’s rifle out of his hands, then shoots his henchmen]
Django: Well, Major… I got just one bullet. But that would be taking advantage… and it wouldn’t be right. How many men have you got left? You tongue-tied, or don’t wanna tell me?
Jackson: Forty-eight.
Django: Okay. For your own protection, I wanna see all of them here next time. Then you’ll have the advantage. Go on and round ‘em up. I’ll be waiting.
Jackson: I’ll round ‘em up. Rest assured. [leaves the saloon]
Django: [to Nathaniel] You can clear up the mess, now. But don’t touch my coffin.

María: It’s not for me to say. But for the first time, I felt like I was a real woman. Someone to protect, and… and to be loved, Django.
Django: [closes the door] I’m glad I made you feel like a real woman – very glad. [begins to disrobe María] I mean that.

Italian version:

María: I thank you because, even if only for a few moments, you’ve given me the feeling of having a man nearby, to protect me… to love me.
Django: [closes the door] In that case, the illusion must be complete. [María breathes nervously as Django begins disrobing her] Brief – but complete.

Nathaniel: I can’t understand why you let Major Jackson get away. He’s on his way here now with all of his men; they’ll kill every one of us. No doubt of it.
I got all the help I need.
Django: What are you afraid of, Nathaniel? After all, you’re paying him for his protection.
Nathaniel: Hm. I pay him, says he won’t kill me and the girls like he does those poor Mexican fools; that he calls his inferiors.
Django: Jackson has no right to consider anyone inferior.
Nathaniel: Well, you better not try to tell him a thing like that! They’re fanatics, can’t you understand that? Have you seen those strange hoods they wear? It’s a religion with ‘em! They’re crazy!
Django: That’s exactly the reason why I’ve got to do just what I’m doing.
Nathaniel: I understand, but you can’t do it alone.
Django: I got all the help I need.

Italian version:

Nathaniel: Why did you let Major Jackson go? He'll come back with his forty jailbirds and kill us all. l know him all too well.
Django: What are you afraid of, old man? You pay for his protection.
Nathaniel: Hmph. I pay so I won't get killed like the ones he calls inferior because of their dark skin.
Django: The sun… can also make your skin dark.
Nathaniel: Yes, but Jackson and his men will never admit it. They have some kind of religion. Have you seen the red hoods? They're fanatics. They're crazy.
Django: Sometimes, fanatics must be eliminated, for the good of everyone else.
Nathaniel: l know, but you can't do it alone.
Django: l'm not alone.

Nathaniel: [burying the bodies of the Klansmen killed by Django] I sure never thought I’d end up gravediggin’ and not getting paid for it, either! Ah, well anyhow, it’s better to be above ground doing that, than to be below doing nothing. [notices Django looking at a grave bearing the name "Mercedes Zaro"] Is it someone you knew?
Django: Someone who was part of my life. I guess the only part that really counted.
Nathaniel: And she was killed… by Major Jackson?
Django: Yeah, by Jackson.
Nathaniel: Wha… why weren’t you able to do something about it?
Django: I was away. Too far away, Nathaniel.

Jonathan: [pointing accusingly at María] Why, it’s because o’ her! I tell yer, she’s the one who brought this on us! She’s the incarnation o’ sin an’ evil!
Saloon Girl #2: He’s absolutely right. It’s your fault if we have to get out of here. The men won’t come to town anymore, and we’ll starve!
Saloon Girl #1: Oh, you shut up! Why are you trying to blame everything that’s happened to poor María?
Jonathan: She’s right to blame her; she’s the cause of all of it, d’ya hear? She’s evil, and brings sin and trouble wherever she goes!
Saloon Girl #1: And you’re a fine one to talk! You ought to be ashamed of yourself, dressed like that and going around with a Bible in your hands!
Saloon Girl #3: Well, listen to her, willya? Who do you think you are?!
[the Saloon Girls begin fighting in the mud]
Jonathan: Why the devil are you two women fighting?! It’s her that brought disaster!

Hugo: Tried to get away, eh? You should have known better, amigo. You’re a spy for Major Jackson, aren’t you? You tell everything you see, and everything you hear… ah… that’s why you’ve got such big ears, I guess. Well, we know just what to do with ears such as yours… don’t we, muchachos? [Miguel hands him a Bowie knife]
Jonathan: No… no, no!
[Hugo cuts off Jonathan’s ear, and forces him to eat it]

Django: This time, I’ve gotta cross that bridge. I’ve waited long enough… long enough so I could finally bury Django in that box. With that gold, I can forget I was Django.
María: Leave all that gold here, Django; it’ll bring heartache. What really matters is if we could have a new life… and you’ll forget what happened here. I love you, Django.
Django: Listen, María: love is something I can never feel again. The girl I once loved was killed, and I can never forget that. If I take you with me, then… you’ll probably get killed, too. And, I… wouldn’t want that to happen.

Italian version:

Django: It's finally time for me to cross that bridge. I've waited a lifetime… a lifetime to bury Django in this coffin. The gold will help me make him disappear forever.
María: Forget the gold, Django! What does it matter to you? We can start a new life together. I'll help you forget. I love you, Django.
Django: I left love behind many years ago. It's buried under a cross in the Tombstone cemetery. If I brought you with me, you might come to the same end. And maybe… you wouldn't be able to make me forget.

Hugo: Well, amigo, our paths cross again! Where is the gold?
Django: It fell into the quicksand… the horse stumbled and the coffin slipped. I guess it’s destiny, General.
Hugo: [chuckles] And so, my gold’s in the quicksand, amigo… that won’t change things. We’re going back to Mexico anyhow, aren’t we? That’s what I decided, and we’ll do it.
Django: Yeah.
Hugo: Now we’re even, Django. You save my life… so I’ll save yours. We don’t kill a thief, even if he betrays a friend. We have ways of teaching them a lesson… right, Miguel?
Miguel: [smacks Django with his rifle butt] ¡Sí, señor! [begins crushing his hands with the rifle butt] That’s for not sticking with us! And this – for stealing the gold! You traitor! You pig! Those hands won’t be good for stealing any more gold when I get through with you! [eventually stops crushing Django’s hands] Go on, men! [Hugo’s men ride their horses over Django’s hands]
Hugo: Your plan was great, but you weren’t quick or clever enough to outsmart us. Pity, isn’t it? I hope your friend, the Major… [chuckles] doesn’t happen to pass by here. [chuckles] It would be so embarrassing for you. Do you want me to… say "Hello" to him for you? Hah! Muchachos, vamos! To Mexico!
[Hugo and his gang ride off]
Miguel: Adiós, gringo! Take good care of your hands! [laughs and rides off]

María: Django, you have to leave now! You’ll come back for me. I don’t want you to get killed now just because of me.
Django: I still got one thing to do. I gotta kill Jackson. Until he’s dead, there isn’t gonna be peace for any of us, ever. There just isn’t any other way. Jackson has got to die… and I’m the one who has to kill him, María. Then we can start a new life together. You see what I mean, María? You understand me? If I don’t kill him, we’ll never be out of danger. You see… it’s his life or ours.
María: Django, your hands are broken!
Django: It won’t stop me from killing him. Nathaniel, hide María, and tell Jackson that I’ll be waiting at the cemetery. Understand? Just the two of us now. I’ll be waiting.

Italian version:

María: Django, go! Save yourself. Get away, before it's too late. Don't worry about me.
Django: There's one thing l have left to do. l have to kill Jackson. It's the only way for this town to start living again, and for me, as well. You can't run away forever. There comes a time when you must stop and fight to the end. I realized it when I was holding your hand so tightly… while the coffin was sinking into the quicksand. If I don't succeed, at least I will have tried... to redeem my life.
María: Django, your... your hands!
Django: My hands will serve me yet. Nathaniel, hide María, and tell Jackson that I'll wait for him by the crosses of Tombstone… because his time has come.

Jackson: [confronting Django in a cemetery] Django, I think you should make a last request! I'll be glad to oblige you any way I can. Start praying if you like, I don't mind. It's a smart thing to do when you know that death is coming for you. How come you haven't you got your burial suit with you? We'll have to leave you to the vultures! So now, begin your prayer... [shoots the top of Mercedes Zaro's cross] I can't hear ya! [reloads and shoots] Okay... now! [reloads and shoots twice]
If I don't succeed, at least I will have tried... to redeem my life.
Django: Can you hear THIS?
[shoots Jackson and his men]

Italian version:

Jackson: [confronting Django in a cemetery] You thought you had won, didn't you, Django? Yet here I am, still fighting my war... a war which will never end. You're praying, I see. Of course, we pray when we're close to death. But you can't make the sign of the cross with those hands. I'll help you do it! ln the name of the Father... [shoots the top of Mercedes Zaro's cross] the Son... [reloads and shoots] and the Holy... [reloads and shoots] Ghost! [reloads and shoots]
Django: Amen! [Literal translation: And it shall be done!]
[shoots Jackson and his men]


  • A century ago on the low hills along the border between the southern states and turbulent Mexico, a mystery man appeared... a man with a sad, impenetrable face. Who was that man? What was his secret?
  • He was pitiless in revenge, quick to decide, and a master of every weapon... a man everybody would liked to have seen dead!
  • DJANGO - The title of a film you'll never forget!
  • Django. An audacious man of action, capable of a tender, hopeless love which could only last a day... But a day which was worth all eternity.
  • Django! A new, ruthless, violent film! Featuring a great new star... Franco Nero! And a great supporting cast!
  • He killed for gold... He killed for his woman... He killed for himself!
  • The Most Controversial and Sought-After Spaghetti Western Of Them All!
  • The movie that spawned a genre.

About DjangoEdit

  • I had no idea it would turn out to be so special. It wasn't just a success; it was a phenomenon. Everywhere I go people shout "Django" at me. Even today, as I am working in Brazil, kids call me Django. In Japan, they won't even put my name on movie posters, they put "Django". In Germany, they call all my movies Django; I did a great movie about the Sicilian mafia and they called it Django in the Mafia. The Shark Hunter they called Django Django. They say: "Well, it's your problem."
    • Franco Nero, interviewed by Phelim O’Neil; The Guardian, May 26, 2011.
  • The opening – a medium shot on the back of Django’s head as he walks away from camera – is the opening shot of Yojimbo. And the ending could be Fistful of Dollars, or A Pistol for Ringo, or Return of Ringo, or any of the Spaghetti Westerns in which the hero’s gun-hand is injured. Except that this is Django, and while the idea may be the same, Corbucci takes it to some weirder, crueller level of Surrealist violence; amplifies the sacrificial religious symbolism of the hero-with-damaged-hands by staging the showdown in a cemetery; and, in case we still don’t get the joke, naming his lead character after the jazz guitarist Django Reinhardt, famous as a brilliant musician despite a serious deformity of one hand.
    • Alex Cox, 10,000 Ways to Die: A Director’s Take on the Spaghetti Western; Oldcastle Books, 2009.


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