L'Homme de la Sierra

I caught this on television and loved it. It's Brando's spaghetti western. Lots of fantastic landscapes. close-ups and acting. Not very violent, but extremely effective. Great soundtrack, would be awesome in surround, but mono track was terrific. John Saxon was a great bad guy ( a Mexican, no less) and character actors are authentic. Well worth seeing. Sidney J. Furie shows real skill as a director even though he was only thirty three at the time. There's elements of John Ford, Howard Hawkes and Sergio Leone. Sometimes it was hard to buy Brando in this role, it's more an Eastwood type of role, but he's such a great actor that he becomes convincing. John Saxon playing a Mexican bandit is a terrific performance, even though it's a white guy playing a Mexican. Hollywood at it's best.

E.Forster Toronto, Canada

Yet another film from Brando's lean years; now, I only have THE UGLY American (1963; also included in Universal's "The Marlon Brando Franchise Collection") to watch from this period – but, all in all, it's an underrated phase for the celebrated method actor. Incidentally, it was nice to see such long-term Universal regulars as composer Frank Skinner (SON OF FRANKENSTEIN [1939]), editor Ted Kent (BRIDE OF FRANKENSTEIN [1935]) and make-up man Bud Westmore (ABBOTT AND COSTELLO MEET FRANKENSTEIN [1948]) still involved in high profile productions such as this one after all those years. Anyway, Brando made only three Westerns in his career – the others being the self-directed ONE EYED JACKS (1961) and Arthur Penn's THE MISSOURI BREAKS (1976) – but they're among the more intriguing, if pretentious, from their respective eras; having said that, the film under review is easily the least rewarding of the three.

The simple plot finds aspiring rancher Brando falling foul of small-time Mexican tyrant John Saxon over the former's appaloosa stallion (later on, Saxon's girl, Anjanette Comer – who does what she can with a basically underwritten role – becomes the object of contention between the two); beaten up by Saxon's men and his prize horse stolen, Brando follows in pursuit – ignoring the advise of friend Rafael Campos and a goat herder (Frank Silvera), he encounters on the way. Reaching the town where Saxon lives with his band of cut-throats, Brando tries to pass himself off as a local (by affecting a silly Mexican accent whose inspiration seems to have been Speedy Gonzales!); it doesn't take long for Saxon to discover his ruse and, when he does, challenges the star to a game of arm-wrestling (with a sting in its tail)! Brando loses and is beaten up again, after which Comer – fed up with her own way of life – takes him to Silvera's place to recover; catching up with the latter, Saxon's men kill him because he won't reveal the rancher's whereabouts but they're eliminated soon after by Brando himself. Finally, a showdown between the two parties takes place in the mountains.

Thematically, THE APPALOOSA - which celebrated film critic Pauline Kael had dismissed as "a dog of a movie about a horse" and whose title was, understandably changed to SOUTHWEST TO SONORA for its British theatrical release – doesn't really cover any new ground despite Brando and director Furie's attempts to respectively infuse meaning into every gesture and shot. The latter was known for his flashy camera stylistics, and he really goes overboard here (placing characters in the extreme foreground when the main action is occurring in the remaining part of the frame – including the very last shot – or choosing bizarre angles – such as a tilted shot during the arm-wrestling bout from the POV of a scorpion!); with this in mind, I had become even more interested in checking this one out after learning how Italian B-movie exponent Enzo G. Castellari drew on it for his impressive latter-day Spaghetti Western KEOMA (1976) on the Audio Commentary of that film's R1 Anchor Bay DVD. All of this – plus Saxon's enjoyably hammy, Golden Globe-nominated performance (with an exaggerated Mexican accent to match) – keeps one watching, even when the pace flags or the plot turns dreary.

Brando is said to have agreed to do this principally because he needed the cash to pay in alimony for his two ex-wives and that he quickly lost interest in the project (to the consternation of his producer and director); consequently, his contribution is atypically understated – thus allowing co-star Saxon to walk away with the film! Nevertheless, the confrontation scenes between their two characters constitute definite highlights (and the climax is nicely handled – kudos, in fact, to Russell Metty's cinematography throughout); otherwise, Silvera and popular Mexican actor/director Emilio Fernandez (perhaps still best-known for playing General Mapache in Sam Peckinpah's THE WILD BUNCH [1969] and here appearing as Saxon's right-hand man) are notable among the supporting cast.

The Appaloosa (1966)

** (out of 4)

Rather bizarre Western has Matt (Marlon Brando) having his horse stolen by Chuy (John Saxon) so he sets out to get him back. The two men had previous run-ins over a woman (Anjanette Comer) who will come into play as the story plays out.

THE APPALOOSA is a film that Marlon Brando didn't really want to make but the paycheck was good so he took the role. When production started he realized that he really didn't want to do the film so the shooting was somewhat of a disaster with the legend battling director Sidney J. Furie. The end result is a fairly forgettable film that tries to be something different than your typical Western.

The biggest problem with this movie is the story. In all honesty even by Western standards the story here is quite weak and would barely fill up one of those 50 minute "B" films from the 30s. We basically have the two men running into each other a couple time and the film tries to be psychological and it fails pretty bad. There are really bizarre and weird camera set-ups that are meant to be deep or to bring you into the mental state of the characters but it just doesn't work. Whatever vision director Furie was trying to bring just doesn't come across and we're left with a pretty boring movie.

The always entertaining Saxon manages to be the best thing here. With his thick Mexican accent and the paint on his face, Saxon manages to make for a fun villain but it's too bad more wasn't done with the character. I thought Corner was also good in her wasted role and especially early on when she fears for her safety after trying to break free from Chuy. As for Brando, I don't think he's bad here but it's certainly not into what he's doing. He ends up mumbling more than anything else and just doesn't bring any energy or passion to the part.

I rate this mid-60's Brando Western a 6, but it really wasn't accepted at the time. Marlon is incredible as always, Anjanette Comer is a stone fox, great supporting cast, and John Saxon as Chuy Medina is a worthy adversary to taunt Brando. Beautiful Southwest and Mexican terrain in this Sidney J. Furie flick that is well worth the trip. Similar to Joe Kidd (also with Saxon).

Best performance = Marlon Brando. Westerns of this type were on their way out by 1966, but with Brando it still makes the grade. Rafael Campos is believable as always in the most authentic way. This one is easy to find so give it a shot!

"The Appaloosa" is a superior low-key western with a great performance by Marlon Brando and very good ones by John Saxon and Anjanette Comer. Brando plays a white man raised by Mexicans who returns from the Civil War tired of killing and ready to build a ranch around one Appaloosa stallion. Brando has the misfortune of becoming a tool for Comer to escape the clutches of Saxon. Saxon retaliates by stealing Brando's stallion, and Brando follows Saxon into Mexico to reclaim it. Director Sidney J. Furie ("The Ipcress File," "Iron Eagle") extensively uses extreme close-ups of faces, in the same manner as Sergio Leone, but not for the same purpose. Furie uses these close-ups to establish intimacy between the characters and the audience. This works beautifully in "The Appaloosa," particularly so since the story is so unremarkable and low-key and Brando's character is by no means a superman. Most of the violence is of the "G" rated variety, with the notable exception of a hand-wrestling contest played with the addition of scorpions.

While the ending of "The Appaloosa" is as abrupt and unremarkable as everything that precedes, intimate moments in the movie linger long after. As examples:

o Brando's confessional o The little girl telling Brando he smells like a goat o The goat herder telling Brando about Saxon's gunmen killing his pet goat o Comer telling Brando her fate if he doesn't help her escape Saxon o The hand-wrestling contest

There are many more unremarkable but somehow memorable moments in the sublime "Appaloosa." It is too insignificant to be great, but it most certainly very good. I give "The Appaloosa" an "8".