I due volti della vendetta

Malden betrays fellow bank robber Brando who escapes from prison, looking for revenge, but when he finds him, things are not that straight forward.

Sweeping, impressive western ostensibly just about revenge, but, bringing in sub plots and myriad support characters who hold their own, this is much more than that.

Brando is very Brando, all mumbling and supressed rage, but a solid lead nonetheless. It is though the other characters such as Pickens and Johnson who hold you attention, with particularly impressive performances from Malden and Pellicer.

I've seen this a couple of times and the picture quality is not great which it is a shame - often very good looking. Definitely one for restoration.

In Sonora, Mexico in 1880 , Rio (Marlon Brando , the character of Rio originally was based on Billy the Kid), his pal Dad Longworth (Karl Malden) and a third man, Doc (Hank Worden) are robbing a bank. As the bandits escape from the town with a loot . The bandits flee but the Mexican mounted police trail the bunch to the mountains . The mounted police follow and trap the bandits atop a desert hill (Death Valley that bears remarkable resemblance to Almeria desert where were filmed lots of Spaghetti) , with one of their horses shot . Their only option is for one of them to ride their single horse to a little post down the canyon and return with two fresh mounts . But Dad double-crosses him and flees . Rio is detained and locked in Sonora Prison but five years later he breaks out . Then Rio seeks vengeance against his former friend Dad who lives now as a sheriff married to a Mexican woman (Katy Jurado) and an adopted daughter (Pina Pellicer who sadly committed suicide a few years later) .

Riveting Western with psychological tones is stunningly performed , richly photographed and well directed , though overlong . Marlon Brando took over the reigns of filmmaking by first and only time . Very good performances from main duo : Brando as an obstinate revenger and Karl Malden who steals the show as his double-dealing former partner . Superb support interpretations from Ben Johnson , Timothy Carey , and Slim Pickens , Katy Jurado , both of whom a few years later played as an intimate couple in ¨Pat Garret and Billy the Kid¨. Lively and adequate musical score by Hugo Friedhofer . Striking cinematography by Charles Lang , being Paramount's last release in VistaVision and filmed on location in California , the following places : Cypress Point, Pebble Beach,Death Valley National Park, Monterey Peninsula,Pebble Beach, Pfeiffer Beach, Big Sur, Seventeen Mile Drive, Warner Ranch, Calabasas, California, USA.

Marlon Brando's inexperience behind the camera was obvious on set , he took the direction from Stanley Kubrick, who originally was slated to direct the film. He shot six times the amount of footage normally used for a film at the time , he was indecisive in his only filmmaking effort and ran extremely overlong in getting the film finished , in spite of the problems , the film resulted to be visually striking and with interesting character study . Marlon Brando's first cut of the film was allegedly five hours long. He was reportedly unhappy with the final product, despite its box-office success , Paramount eventually took the film away from him and re-cut it as Marlon Brando's original cut of the movie was over five hours long . Rating : Better than average despite troubles during filming and the result is a terrific outing in this Western genre .

Although this movie probably suffered as a result of cost overruns/studio shenanigans, I would certainly put it in my top 20 westerns, probably knocking at the top 10. This is the only western I've ever seen that takes place in Monterey. I would *JUMP* at the chance to see Brando's 5 hour version. Ben Johnson and Slim Pickens were excellent as was the whole cast. When Brando gets fired up; watch out !

Brando's first effort as a director was excellent. Too bad he lost his taste for it; I don't think we got as much mileage out of his fine talent as we should have in later years.

I found this film quite remarkable on many levels. For one, it was the debut for Brando as director (and his only film direction since). Reportedly, it was taken after Kubrick left due to altercations. Well, this time, Brando has one foot in front of the camera, as well as one behind it. He does a great, solid job. In fact, this film never looked awkward or misguided -- it felt like an intelligent western helmed by an Anthony Mann or Raoul Walsh. To further boost the professional polish of the film, there is cinematographer Charles Lang (Magnificent Seven, How the West Was Won).

Within this polished piece of work, the muscle of the film is found in the wonderful character study. Here, the characters, like in many great stories, are complex, dark, tempermental. Although the film is about the hero's(or anti-hero's) thirst for revenge on a man who done him wrong, there's a romance in the film that is truly tender and fateful.

The magnet in this film would have to be Brando. (Karl Malden is great too). Brando's understated performance is of the subtle type, using his famous darting eyes to penetrate the characters and the viewer. He's one of my favorite all-time actors.

As with all great films, One-Eyed Jacks is a quiet masterpiece, displaying what every good film needs: great script, powerful acting, layered characterization, and be technically-sound.

Ben Johnson is mesmerizing in this picture; his natural ease with

screen acting was well-honed by this time and he has a

confidence, a greasy smoothness, in the part of Bob Amory that he

hadn't displayed up to this point. Perhaps it was because he was

working with two stellar actors from the method school that

spurred him to give them a run for their money. Or perhaps he was

more relaxed due to his extensive experience working in westerns

(or because he was one of the only authentic cowboys on the set).

Nevertheless, his contribution is equal to the leads, and far above

everyone else. And that's so small feat. Before Kubrick had left the

production, he obviously installed several of his favorite players:

Slim Pickens, Tim Carey, Elisha Cook Jr in supporting roles. Each

same part makes a significant contribution to the complexity and

charm of the story. But Johnson rises above them all. His snake- rattling Amory is just as pathetic as he is creepy. The scene in

which he chickens out of a gun duel with Brando is electrifying,

mostly due to the ambiguity in Johnson's close-ups. Watching it,

you're not quite sure if the character is too stupid to back down or

just plain chilled to the bone with fear.