Within the rather unlikely matchup of the ‘good’ (Blondie) portrayed by Clint Eastwood, the ‘bad’ (Angel Eyes) for Lee Van Cleef, and the ‘ugly’ (Tuco) given to Eli Wallach, the film may be recognized of the thematic attempt to depict a moral position through the character of Tuco Ramirez. Compared to the traditional approach of signifying adventure with crime via the struggle of the good against the bad, in this setting, a neutral figure is put in the middle so as to lay a perspective of viewing the film in the light of being caught within a moral thread which Tuco himself may either opt to keep or snap knowing that his wasted life has been a far cry to that of his brother Pablo.
Amidst the conspicuous desperation to hold the stolen Confederate gold worth $200,000 in acquisition, the story of “The Good, the Bad and the Ugly” is bound to confront the essence of personal transformation with reference to the role Tuco ‘the ugly’ plays. This is particularly indicated in the special scene Tuco shares with Pablo which gradually explicates how severely divergent are the separate paths they take in life leading one to become a bandit while the other a clergyman. At the onset of meeting his brother, Tuco is shown to apply an ethical mode of expressing how greatly he yearns to see and talk to Pablo. So with an overly proper conduct and gesture, he initiates “Hey Pablo, don’t you recognize me?” and claims “I don’t know the right thing, I was just passing by here; I said to myself I wonder if my brother remembers his brother.” It were as if Tuco can be felt to have temporarily gone out of his originally mischievous self to a pleasing human outfit for the sake of delighting Pablo with his cheerful presence. On the contrary, nevertheless, the brother chooses to exercise his priesthood for the thief to be brought to a sense of remorse over the demise of their parents stating