Django – 1966 Corbucci

Corbucci’s Django ends with one of the best frames of the year- a jaw-dropper- that shot alone takes the film a rung higher
Starts with the title song sung by Rocky Roberts which would be reused by Tarantino 36 years later- superb
Franco Nero’s titular character (hero? antihero?) dragging that coffin behind him- great imagery—a massive zoom by Corbucci (certainly his preferred stylistic choice) to introduce him

Nero’s performance (tight-lipped, blue eyes) and casting certainly owes it all to Leone and Eastwood. The premise itself (technically from Kurosawa’s Yojimbo) is essentially A Fistful of Dollars (preceding this by two years)—two rival gangs, Nero playing them in the middle. I hesitate to call it a meditation but it nihilistic, sadism

A great shot at the 10 minute mark through a fence of main street of the muddy town
Another great shot of an open window framing the two women at 19 minutes- Corbucci isn’t going to be mistaken for Antonioni but strong stuff here
A few impressive instances of William Wyler-like depth of field—a shot of the saloon owner/bartender in the foreground and Django in the background at 23 minutes
Again- heavy zooms- Corbucci’s tool
The racist southerners clad in red – like the Klan
Tarantino again—the cutting off of an ear
As strong as the title song is—and it’s awesome—this film misses Morricone
A holy f*ck last shot– what a mise-en-scene design. An amazing frame that’s held for 60 seconds