Quentin Tarantino ha scritto un articolo per il New York Times chiarendo le influenze del cinema di Sergio Corbucci sul suo Django Unchained.
Any of the Western directors who had something to say created their own version of the West: Anthony Mann created a West that had room for the characters played by Jimmy Stewart and Gary Cooper; Sam Peckinpah had his own West; so did Sergio Leone. Sergio Corbucci did, too — but his West was the most violent, surreal and pitiless landscape of any director in the history of the genre. His characters roam a brutal, sadistic West.
[…] In “Il Grande Silenzio,” he has Klaus Kinski playing a villainous bounty hunter. I’m not a big fan of Kinski, but he’s amazing in this movie — it’s definitely his best performance in a genre movie. The hero of “Il Grande Silenzio” is Jean-Louis Trintignant, playing a mute. By taking his hero’s voice away, Corbucci reduces him to nothing.
And “Il Grande Silenzio” has one of the most nihilistic endings of any western.
[…] Corbucci dealt with racism all the time; in his “Django,” the bad guys aren’t the Ku Klux Klan, but a surreal stand-in for them. They’re killing Mexicans, but it’s a secret organization where they wear red hoods — it’s all about their racism toward the Mexican people in this town. In “Navajo Joe,” the scalp hunters who are killing the Indians for their scalps are as savage as the Manson Family. It’s one of the great revenge movies of all time: Burt Reynolds as the Navajo Joe character is a one-man-tornado onslaught.
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