Editing Spaghetti Western (section)

===''Django'' and the tragic hero===
Beside the first three spaghetti Westerns by Leone, a most influential film was [[Sergio Corbucci]]'s ''[[Django (1966 film)|Django]]'' starring [[Franco Nero]]. Django was one of the most violent spaghetti Westerns. [[Django (character)|The titular character]] is torn between several motives—money or revenge—and his choices bring misery to him and to a woman close to him. Indicative of this film's influence on the spaghetti Western style, "Django" is the hero's name in a plenitude of subsequent Westerns.<ref>Frayling (2006), p. 82, finds over thirty Django films, with renaming in French versions included. Fridlund (2006), pp. 98–100, finds at least 47 German titles containing the word ''Django''.</ref>

Although his character is not named Django, Franco Nero brings a similar ambience to ''[[Texas, Adios]]'' and ''[[Massacre Time]]'', in which the hero must confront surprising and dangerous family relations. Similar "prodigal son"<ref>The term is used by Fridlund (2006), pp. 101–09.</ref> stories followed, including ''[[Chuck Moll]]'', ''[[Keoma (film)|Keoma]]'', ''[[The Return of Ringo]]'', ''[[The Forgotten Pistolero]]'', ''[[One Thousand Dollars on the Black]]'', ''[[Johnny Hamlet]]'' and also ''[[Seven Dollars on the Red]]''.<ref>Frayling (2006), pp. 79–89. Fridlund, pp. 93–122.</ref>

Another type of wronged hero is set up and must clear himself from accusations. [[Giuliano Gemma]] starred in a series of successful films carrying this theme—''[[Adiós gringo]]'', ''[[For a Few Extra Dollars]]'', ''[[Long Days of Vengeance]]'', ''[[Wanted (1967 film)|Wanted]]'' and, to some extent, ''[[Blood for a Silver Dollar]]''—in which his character is most often called "Gary".<ref>Fridlund, pp. 113–118.</ref>

The wronged hero who becomes an avenger appears in many spaghetti Westerns. Among the more commercially successful films with a hero dedicated to vengeance—''[[For a Few Dollars More]]'', ''[[Once Upon a Time in the West]]'', ''[[Today We Kill... Tomorrow We Die!]]'', ''[[A Reason to Live, a Reason to Die]]'', ''[[Death Rides a Horse]]'', ''[[Django, Prepare a Coffin]]'', ''[[The Deserter (1971 film)|The Deserter]]'', ''[[Hate for Hate]]'', and ''[[Halleluja for Django]]—''those with whom he cooperates typically have conflicting motivations.<ref>Fridlund, pp. 118–121.</ref>