#Tuco Benedicto Pacifico Juan Maria Ramirez

[could-they-be-a-pro-wrestler]

How successful would Tuco Benedicto Pacifico Juan Maria Ramirez…

Propaganda for the mic skills:

He is a yapper

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Propaganda for the wrestling skills:

He is unbreakable, can crush a man’s skull on a rock, fights with one hand tied behind his back

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Would you like to submit a character? Click this link if you do!

[sournote2014]

Shoutout to autistic female fans of Tuco Ramírez from 'The Good, the Bad and the Ugly'.

[maureenkpliskin]

Warm up activity 2 for the @dollarstrilogyevent featuring Tuco and his amazing umbrella ! <3

[maureenrambles]

I was rewatching The Good The Bad and the Ugly scenes to find references to draw, and then there was this scene with the Union captain, he trips on something, and it's very subtle but you can see Tuco reach out to him to prevent him from falling.

He's so sweet 🥺🥹

[anxiouscowboy]

Someone please draw Tuco as Tom Selleck in Magnum P.I. I implore you

[mister-warmth]

A migraine is currently beating my ass, but after I finish up this one shot I'm writing rn, I would really like piecing together all the wips and ideas I have for the 70s GBU fanfic and make something of it. It would be semi inspired by once upon a time in Hollywood in a way but also go more towards a criminal direction because these men are like that sbhsbs y'know it.

Either way it's something I'm looking forward too.

[khazadspoon]

THIS prompt. Based on the vibe of THIS photo:

For some reason I’m now in stunt man/actor territory… have a tentative au idea!!! Sorry it isn’t longer, it’s been a Day.

——

The so-called “heroic” leading man had obviously never fired a shotgun before. It wasn’t a particularly heroic weapon, more likely to be carried by villains or their lackeys in these big motion pictures, but Blondie had still expected a little experience given the man’s career.

He and the supporting lead, a man Blondie was slowly beginning to call an actual friend, watched in amusement as the star of the show fumbled with the prop. Tuco Benedicto Pacifico Juan Maria Ramirez (who often grumbled about his full name never being used for promotional posters or advertising) let out a quiet snort of laughter. Their shoulders bumped as the man leaned into him.

Blondie shot him a half smile. He’d smiled more on this set than any in recent memory. “And that,” he said dryly, “was a perfect example of how not to do things.”

Tuco laughed again, louder this time, and clapped Blondie on the shoulder. The costume rings on his hand dug in through Blondie’s t-short when he squeezed. “You’re telling me! His elbow needs to be a little higher, and if he doesn’t get his finger off the trigger whenever that damn thing’s in his hand I’ll scream.”

Blondie hummed, aware of Tuco’s hand resting on his shoulder now, focused on how it wasn’t moving away. A curious thing about Tuco, how he joked with everyone on set but only really spent time with Blondie between takes. The man had many friends it seemed, but he didn’t want to spend more time with them than he needed to. Blondie, who was just the stunt double, who had no scenes with Tuco directly, and who had been brought on hastily half way through when the previous guy quit for medical reasons, was the one he gravitated towards.

The director clicked his fingers and motioned for Blondie to come over. He resisted the urge to roll his eyes at the motion, but directors were their own breed, no use in fighting them.

“More gun lessons. Duty calls…” He tipped his head to Tuco and patted the small of his back, thin layers of fabric moving under his hand. It was a good costume, a little revealing at the front but he wasn’t going to complain about that. Tuco was rarely cast for his looks. Blondie privately thought that was a shame; there was a rugged, unrefined beauty about the man, something you couldn’t quite put your finger on until the man smiled at you and rendered you speechless.

Tuco grinned at him. Blondie’s tongue stuck to the roof of his mouth. “Tell the kid to keep his elbow up.”

“And his finger off the trigger. Got it. God forbid you start screaming, Tuco.”

The man’s grin became a smirk, something about it warming Blondie’s belly. “Only for the right reasons, amigo; only for the right reasons.” He winked, teeth gleaming, and sent Blondie off with a wave.

Blondie shook his head and mentally calculated the time remaining before lunch. No doubt Tuco had something to say about the cornbread and grits on the menu. He couldn’t wait to hear it all.

[almeriamovies]

Rare, Eli Wallach as Tuco Benedicto Pacifico Juan Maria Ramirez (the Socorro lost scene) in Las Hortichuelas, Cabo de Gata. “The Good, the Bad and the Ugly” AKA Il buono, il brutto, il cattivo by Sergio Leone (1966)

[figs-and-pomegranates]

list 5 things that make you happy, then put this in the askbox for the last 10 people who reblogged something from you! get to know your mutuals and followers ♡

1. Tuco as in Tuco Benedicto Pacifico Juan Maria Ramirez

2. Talking to my friends - online and offline

3. Visiting new places

4. Writing

5. Singing

[icarus-suraki]

Tuco Benedicto Pacifico Juan Maria Ramirez, known as "The Rat," is the #1 Scungly Guy in cinema. He is literally a dirty scoundrel. He is "The Ugly" of The Good, the Bad, and the Ugly. He steals, he sneaks, he has some of the best lines, he's both smart and a smartass.

And just look at him! Look at his rodential scrungle! This is literally his face during a 3-way standoff for a huge cache of gold!

And here's the Wallach Frolic!! (Potential spoilers if you've never seen the movie)

He also nearly died on set??? When he accidentally drank from a bottle of acid???

Vote for my Scrungly Boy!!!

Alla Nazimova (Salome)—Undeniably hot, she is just SO camp it goes back to scrungle.

Eli Wallach (The Good, The Bad, and the Ugly)—Tuco, the character played by Eli Wallach in the Good the Bad and the Ugly, is dubbed as “the ugly” but that is just ironic. Tuco is a cute (dashing) scoundrel, wanted in 15 counties, wearing shredded clothes, and having his gun tied to a string instead of a holster. He talks fast and draws his gun even faster. He doesn’t let it on but he feels lonely because his life as a criminal estranged him from his family.

This is round 1 of the contest. All other polls in this bracket can be found here. If you're confused on what a scrungle is, or any of the rules of the contest, click here.

[additional submitted propaganda + scrungly videos under the cut]

Alla Nazimova:

Eli Wallach:

[CW for Eli Wallach playing a Mexican character.]

There is nothing about this man that isn't scrungly. His own (lifelong, loving) wife laughed when she found out he had avid fangirls.

Eli Wallach was an amazing actor, and his performance as Tuco is transcendently scrungly, especially playing against Clint Eastwood. More like The Good, the Bad, and the Scrungly, am I right!

[sournote2014]

It's about time I redid this one.

[believerindaydreams]

A03: all characters must be identified by full legal names whenever possible

Tuco Benedicto Pacifico Juan Maria Ramirez: oh?

A03: ...forget it

[sournote2014]

Great analysis.

[Image description: Blondie and Tuco sit on a buckboard. Both are disguised as Confederate soldiers. Tuco wears fingerless gloves and an eyepatch. Blondie holds the reins while Tuco clasps his hands together and smiles]

“Blessed are you who are poor, for yours is the kingdom of God. Blessed are you who hunger now, for you will be satisfied”.

- the Gospel of Luke, 6:20-21

Your probably too long to read, incomplete and obscure introduction to the themes of loneliness and forgiveness in the Good, the Bad and the Ugly (including religious references).

Image there just for cuteness. Let’s go!

1) Loneliness

Tuco is a tragically lonely character. The layers on which this loneliness is played out are multiple. Not only he is cast away from his family - having deserted it - and morally from religion - as his priest brother points out he has done nothing “outside evil” - and from the law-ruled society - being Tuco a literal outlaw, with a long rap sheet to testify for it - but also he is spiritually outside of God’s grace - “while I wait for the Lord to remember me” he says to his brother Pablo.

He does seek out company - he tries to reintroduce himself in his family at the monastery, when he meets his brother again after 9 years. The scene with his brother draws a parallel between Tuco and the “Prodigal son” of Jesus’ parable, who left his family for a life of sin. His angered brother Pablo cannot understand the reason why he came to visit and underlines the evil he has done. The scene does not only show the derangedness of traditional familial relations; it also expresses a strong anticlerical statement showing how far the Church is from putting into practice the original spirit of brotherly love and solidarity.

He has no one on his side. No God - when Tuco says that God is on his side something happens that contradicts his statement. No brother - being rejected by Pablo. No friend - being betrayed by Blondie at the beginning of their partnership.

The symbol of loneliness and lack of human connection is the desert. The torture of Blondie at the hands of Tuco takes place in the desert. The film itself begins with a long shot of a desert landscape which is immediately filled by a gigantic close-up on the face of a killer. In this desert we are immediately welcomed by a threatening figure: it is really the only kind of humanity that can be found there - ruthless and keen to murder.

Tuco is deeply violent too. He is a murderer, a torturer, a thief, a criminal. He is the lowest a man can get. And he is fully aware of his own nature. The image of the dog wandering at the beginning of the film in the ghost town embodies the way Tuco moves in the world - belonging to none, hungry, constantly threatened, constantly looking for company and food. He is in fact chased by the afore mentioned killer but manages to escape.

Though it is never stated outright, Tuco’s real quest is to find a friend. But in the kind of world painted by Leone “friend” is someone who can potentially turn on you. A danger. Society (food sharing, family) is embued with violence and threats. One has to put up a facade to hide their weakness and survive.

But this desire is persistent in Tuco. Through his lies he states it to Blondie: he needs to know that “even for a tramp like him there is always a bowl of soup”. He needs to know that there is someone out there that can fulfill this hunger for company. Someone who does not point out his sins like his brother does. Someone who loves him for who he is - a tramp, a criminal, a bastard, a sinner.

2) Presence

“Were you gonna die alone?”

Is there anything more absurd than loving your enemy? After all that Tuco has done to him, Blondie - the archetypal rebel - makes a disruptive gesture. He kindly offers Tuco the cigar passing it from his mouth thus symbolically offering himself.

The cigar is a part of Blondie, as we cannot imagine his character without it. Furthermore he is literally taking it from his mouth, as if sharing with Tuco a part of himself.

The parallel with the wafer of the eucharist is evident as the gesture - and its orality - symbolically represents union and community. From this moment on Blondie and Tuco form a partnership which is hard to break - that draws them back together when they are apart - a kind of connection that does not entail money. Furthermore, the wafer in the eucharist is the body of Christ - offered “to wash away humanity’s sins”. This meaning is carried out to the end of the film. “He who eats the body of Christ does not die”.

Blondie reaffirms his offering himself multiple times. When he reunites with Tuco, Blondie tells him to kill Angel Eyes and his henchmen, and then joins him in the fight, asking him mockingly “were you gonna die alone?”. He makes it clear he is on Tuco’s side, and actively supports him.

Finally during the last showdown Blondie offers him protection - right when Tuco is at his weakest. Blondie’s gaze and nod in his direction calm and steady Tuco.

This goes to close Tuco’s quest to find a friend; a competitor, a rival, and enemy who also is on his side when needed.

Blondie’s actions are aimed at mending the relationship with Tuco with forgiveness and love - making Blondie the bearer of a “love thy enemy” message. And this is clearer if we look at the parallels between Blondie and Christ: he is tortured, (almost) dies and comes back to life, loves the one who hurt him, and protects him (see citation at the beginning of the post).

Blondie is even seen occupying the same position as a statue of Christ - see image below.

By this I do not mean he is painted as a superior being - actually it is the opposite. I mean more simply that as a character he carries a worldview embued with forgiveness, kindness, and love. He still is a criminal - but he is capable to feel tenderness despite his violent actions. Both he and Tuco show this “duplicity”, or ambiguousness. Moreover, in the film he and Tuco switch roles at different times - sometimes Blondie embodies Christ, as the “innocent” victim, whereas at the end Tuco takes on the position of Christ (and of course to they respectively embody Judas too, betraying each other for gold). That goes to show how thin the line is between victim and perpetrator, how there is both good and bad in our our nature.

Looking at the symbolicism again, Angel Eyes (whose name is originally Sentenza) embodies judgement, which opposes forgiveness. Tuco can finally escape judgement and death thanks to the presence and forgiveness of Blondie.

Also ultimately it is not Blondie who acts alone and saves Tuco. He lets Tuco take his decision. He lets Tuco make the choice to shoot first - choice which is possible since Tuco trusts that Blondie has his back. Tuco is freeing himself from the violence ridden world choosing partnership, trusting another person.

The most absurd thing of it all is that Blondie - the unbound rebel, the embodiment of individualistic self interest, and most of all the victim of Tuco’s torture - actively chooses to be by his side. This choice is disruptive in many ways. First, it is an act of tenderness in a world ruled by violence. Secondly, their partnership allows Tuco to find a haven out of the systems of religion, law and society that have excluded him. And ultimately it saves Tuco from death as a form of punishment for his crimes (forgiveness vs. Judgement).

[icarus-suraki]

If you work for a living, why do you kill yourself working?

Tuco Benedicto Pacifico Juan-Maria Ramirez, The Good, The Bad, and the Ugly

[almeriamovies]

The Good, the Bad and the Ugly” by Sergio Leone (1966) Eli Wallach as Tuco Benedicto Pacifico Juan Maria Ramirez choosing his gun for revenge!

[cirilee]

we sentence the accused here before us...              ...Tuco Benedicto Pacifico Juan Maria Ramirez