英文版介绍：

　　The film tells the story of three men who pursue, often at the expense of others, information about the location of a buried treasure of coins. The first character introduced in the movie is Tuco Benedicto Pacifico Juan Maria Ramirez (the Ugly) - called Tuco - (Eli Wallach), who has a bounty on his head for numerous crimes. Tuco has a partnership with Blondie (The Good, played by Clint Eastwood) in which the latter turns him in for the reward money which the two then split after Blondie saves Tuco from hanging at the last moment. Meanwhile, a third character called Angel Eyes (Lee Van Cleef, playing the Bad) has learned of a hidden trunk of gold owned by a Confederate soldier named Bill Carson. He sets off to find the gold.

　　Soon, Blondie grows tired of his relationship with Tuco, and leaves Tuco in the desert with no water. Tuco survives and is intent on exacting revenge on his former partner. He finds Blondie, and turns the tables by planning to abandon him in the desert. However, before Tuco can complete his torture in the New Mexico desert, a runaway stagecoach full of dead and dying Confederate soldiers appears. Bill Carson, the man with knowledge of the whereabouts of the gold, dying from thirst, persuades Tuco to get him a drink by disclosing the name of the graveyard where the loot is located. As Tuco goes for the water, Carson dies, but not before revealing the name on the grave to Blondie.

　　Dressed in the uniforms of the dead soldiers, Tuco takes Blondie, near death, to a local Catholic mission run by his brother, a priest. While Blondie recovers, Tuco and his brother (Luigi Pistilli) confront each other about the mistakes each has made in life. After leaving the mission, the two, still impersonating Confederate soldiers are captured and taken to a Union prison camp. Angel Eyes has followed the trail of Bill Carson to the prison camp and is posing as a Union Sergeant.

　　Angel Eyes and his colleague Wallace beat and torture Tuco until he reveals the location of the cemetery. When Angel Eyes learns that only Blondie knows the name, he changes tactics. He proposes a partnership, and accompanied by five or six other killers, they leave to find the coins. Tuco escapes while being transported from the camp by train, in the process killing Wallace. At the nearest town, Tuco encounters a bounty hunter (Al Mulock) he had wounded at the beginning of the film, who seeks his revenge. As Tuco shoots the bounty hunter, Blondie, who is in the same town with Angel Eyes, recognizes the sound of Tuco's gun, seeks him out, and he and Tuco resume their old partnership. Together they kill Angel Eyes' gunmen along the main street, but Angel Eyes himself escapes.

　　Tuco and Blondie stumble on a battle between the Union and the Confederates, fighting for a bridge of questionable strategic value. Since the cemetery is on the other side of the bridge, they decide to destroy it and force the soldiers go somewhere else to fight. While they are setting up the dynamite, Tuco reveals that the cemetery is called Sad Hill and Blondie reveals that the coins are buried in a grave marked by the name of Arch Stanton.

　　On the other side of the river Tuco deserts Blondie by horseback and finally enters the nearby graveyard.

　　Tuco frantically searches around the graveyard for the grave of Arch Stanton. Eventually Tuco finds it, but before he can begin digging he's held at gunpoint by Blondie, who in turn is held at gunpoint by Angel Eyes, who has finally caught up to both of them. However, Blondie reveals that Arch Stanton's grave contains only a decomposing corpse.

　　Blondie then leads the three of them into an empty patch of land in the middle of the cemetery. He writes the name of the real grave under a stone which he places in the center.

　　At the conclusion of a three-way shootout, Blondie shoots Angel Eyes and Tuco finds his gun empty, having been unloaded the previous night by Blondie. Blondie then reveals that the real location of the coins is a grave marked "Unknown" right next to Arch Stanton. Tuco digs up the loot from the grave only to find himself once again staring down the barrel of Blondie's gun, who now holds a noose in his hand. After placing Tuco into the noose, fastening it to a nearby tree and making Tuco stand on the unstable wooden cross of one of the graves, Blondie takes half the coins and rides away while Tuco cries for help. In a dramatic twist, Blondie turns around to shoot the rope above Tuco's head, as he used to do in their times of partnership, freeing him one last time before riding off as Tuco screams in rage.

　　简 介

　　意大利西部片宗师瑟吉欧.莱昂内执导的镖客电影三部曲的完结篇，由克林特.伊斯特伍德、李.范.克里夫和伊莱.沃勒克分饰英文片名所指的好人、坏人和丑恶之人。三人在美国南北战争期间趁着政局混乱，打算谋夺一批属于南方政府的财富，但每个人只知道一部分藏金的细节，必须联合起来才可以取得全部的钱，于是三人既互相利用又勾心斗角，产生不少有趣的笑料和张力十足的戏剧性对峙。本片制作严谨，气派十足，具有同类娱乐片所有吸引人的元素，主角的演出和颜尼欧莫利克奈的配乐均令人难忘。

　　附文：镜头技术分析-古龙笔下的节奏——《善恶丑》的终极决斗

　　影片《善恶丑》(THE GOOD,THE BAD AND THE UGLY)是意大利导演赛尔乔·莱翁内(Sergio Leone)六零年代拍摄的"赏金三部曲"之一(另两部是《为了几块钱》和《再多几块钱》)。许多人不认为赛尔乔·莱翁内是大师级导演，虽然他有那部让许多人爱煞的《美国往事》。他的《为了几块钱》抄黑泽明的《保镖》(用心棒)抄的一塌糊涂，关键处连机位都不带改的。以他为代表的“通心粉西部片” (Spaghetti Western)或多或少带着贬义。

　　这部《善恶丑》还是给我留下了深刻印象，除了偏爱恩尼奥·莫里康第一以贯之的悠扬悦耳的音乐，从内容上来说更加复杂，涉及了南北战争的宏阔历史背景。人物性格也趋于丰富，特别是“丑的”这个角色极为成功。不过我在这里是尝试对片尾的决斗场面作一次纯粹的技术分析，电影学院把这叫做“拉片”(即拉胶片，没胶片可拉，咱就在dvd机上慢进吧)。影片接近结尾处，“善”(克林特·伊斯特伍德主演)，“恶”和“丑”决斗，时间接近黄昏，地点是在一片环形墓地的中央，即一大片石子铺就的圆形广场。总长度接近5分钟，约450尺，共80个镜头。

　　自镜头1 到镜头14，“善”先走到广场中央，放下一颗石头，然后走到另一端，与“恶”和“丑”成犄角之势。其中有一些简单的场面调度，“恶”自右向左穿过“ 善”和“丑”之间，走到顶角位置，然后“丑”向右横移。镜头3 是个变焦急推，目的仅仅是对那块石头的强调。镜头8 是本段落里唯一的运动镜头，而且仅仅是个幅度很小的中景跟摇。到镜头15，是整个段落的总角度，确立三个人的位置和轴线关系，从此人和机器就都不再运动，完全依靠对节奏的掌控来推进。同时在这个镜头里，音乐也陡然增强，将决斗的紧张和肃杀气氛推向高潮。

　　我原以为会从镜头上强调“善”，比如镜头7 和9 的仰拍，一如我们的英雄人物。但是后来发现导演对待这三个人物基本是(至少从表面上)冷静而公平的，甚至还有厚此薄彼之嫌(后文提及)。比如镜头17、18、19 分别是三个仰拍，紧跟镜头20、21、22 分别是三个过肩全景，紧接着镜头23、24、2 分别是三个手和枪的特写。然而到了镜头27，又单独给了“善”一个仰拍。原来导演还是有态度的，只不过这种态度隐藏在一闪而过的镜头群里，不易发觉罢了。

　　从镜头17 到镜头77 这60 个镜头里，共给了“善”17 个镜头，给了 “丑”21 个镜头，给了“恶”22 个镜头，这似乎有点奇怪，作为正面英雄人物的“善”反而镜头数最少，含有“丑角”意味的“丑的”镜头数都比他多，“恶” 作为反一号，镜头数竟然最多!同样着力描写细节的手部特写，“善”仅仅给了2 次，“丑的”给了4 次，给“恶”手部特写竟然达到了11 次之多!

　　不过结合前后的剧情和演员的表演就会看出导演这样安排的用意，“丑”和“恶”都是在同时防范两个人，他们的眼神总是左顾右盼，他们的手指在轻微颤抖，镜头堆积的越多越能表现他们的紧张和色厉内荏。只有“善”知道“丑”枪里是没有子弹的，因为他预先作了手脚。他只需专心对付“恶”，因此他就是一副好整以暇的英雄风范，叼着半支雪茄，沉着中透着一丝不屑。镜头数量少恰恰起到了一种无处不在的“虚写”效果，这对于我们一拍英雄题材就“高大全”的中国导演是一个很好的启示。

　　全段的镜头节奏遵循着逐渐加快最终推向高潮的常规手法，大致可分为三个阶段。开始部分除了个别强调性的镜头，基本在4 至6 秒之间，连续两个远景的镜头15、16 以后，剪切频率明显加快。不过中间还是有几处延宕。比如镜头51、52“恶”连续的面部和手部特写分别长达6 秒(合9 尺胶片)，镜头57“恶”手部特写又足足给了6 秒，这种忽突还缩的节奏变化仿佛F1 方程赛车手在弯道的减速，孕育着更狂烈的风暴。

　　果然，从镜头61 到镜头76，被郁积的能量完全爆发出来，一连串令人眼花缭乱的如破风之竹般的快剪，而且无一例外都是局部的特写和大特写。短短的8 秒钟里竟然剪出 16 个镜头，平均每个镜头仅12 格。这在屏幕上充斥着广告和Music Video的今天也许对观众来说司空见惯，遥想当年恐怕还是很有视觉冲击力的。不过与今天我们的新派武侠片强调流动感的剪接风格不同，这里每一幅画面内部的动作幅度都极小，静止到近乎呆照，效果有点象古龙笔下的决斗场面，这一连串短镜头仿佛一连串铿锵有力的短句：“刀/分刀/好快的刀!”，成功的营造出了一种决战前战瞬间的窒息感。

　　几乎与剪切频率完全同步，景别系列也是逐渐收缩。开始部分，除了穿插其间的交待性和渲染性的全景和远景，基本以中景和近景系列为主，到了镜头20、21、22 三个过肩全景镜头以后，就全部是近景、特写和大特写了，如前文提到，镜头61 到76，甚至连一个近景都没有，这是一种很极端的做法。直到镜头77“善”开枪，才又回到中景。可见，景别本身也是有快-慢(紧-松)节奏的，特别是把它拆解为几组序列来递推，配合剪接速度来使用的时候，这种推波助澜的节奏感就愈加明显了。

　　最后谈谈音乐节奏，恩尼奥·莫里康蒂的配乐水平毋须多言。该慢该快该强该弱都是恰到好处。值得一提的是本片断中两次音乐音响的使用，一次是镜头15 远景在吉他的弹拨中突然加入小号，音乐陡强，到镜头16 远景间音乐又戛然而止，只听到萧索的风声和凄寒的鸦鸣，然后微弱的铃声和鼓声才重新响起。另一次是在急管繁弦中，伴随着镜头77“善”拔枪，一声清脆的枪响，重归寂静。这两处音乐的休止使音乐的“无”反衬出了音响的“有”，显示了导演巧妙驾驭音乐和音响这两种素材，控制声音节奏的功力。

　　在我们中国的武侠片里，有着数不清的决斗场面，例如黄飞鸿vs纳兰元述、陈真vs藤田刚、曹少钦vs周淮安+邱莫言+金镶玉+蒙古鞑子，个顶个的精彩纷呈。我坚持认为，动作场面本非西片所长，同样是著名西部片，在《正午》里的决斗，单纯从视觉效果上讲就很水。不过在《善恶丑》里，我看到了导演赛尔乔·莱翁内扬长避短，寓动于静、寓慢于快，利用纯熟的镜头语言，巧妙的掌控节奏，仍然为我们奉献了一出决斗的精彩好戏。