AVALIAÇÃO DA IMDb
7,1/10
15 mil
SUA AVALIAÇÃO
Depois de roubar um banco mexicano, Das Longworthdeixa seu parceiro Rio para ser capturado, mas o Rio foge e procura papai na Califórnia.Depois de roubar um banco mexicano, Das Longworthdeixa seu parceiro Rio para ser capturado, mas o Rio foge e procura papai na Califórnia.Depois de roubar um banco mexicano, Das Longworthdeixa seu parceiro Rio para ser capturado, mas o Rio foge e procura papai na Califórnia.
- Direção
- Roteiristas
- Artistas
- Indicado a 1 Oscar
- 3 vitórias e 4 indicações no total
Elisha Cook Jr.
- Carvey
- (as Elisha Cook)
Rodolfo Acosta
- Mexican Rurale Captain
- (as Rudolph Acosta)
Avaliações em destaque
From IMDb trivia:
Marlon Brando's first cut of the film was allegedly 5 hours long. He was reportedely unhappy with the final product, despite its box-office success. "Now, it's a good picture for them [Paramount]," he said upon its release, "but it's not the picture I made... now the characters in the film are black-and-white, not gray-and-human as I planned them."
Hand it to Brando to be dissatisfied with a film because he didn't manage to make it as long as he wanted to. Regardless of what Brando thought, this is a really fine Western and a unique one, too - it seems fresh and "new," like a Cool Man's West or something. Having Brando (when he was still looking fairly trim) in the lead role certainly gives it a certain glamor and the story itself - and execution - is great.
Overall I wish Brando had made another film after this but to the best of my knowledge this is really the only true film he ever made. If he was just trying to prove he could direct, he did - even if the film has its flaws, it's far from bad. In fact, it's very, very good - and extremely entertaining.
4.5/5
Marlon Brando's first cut of the film was allegedly 5 hours long. He was reportedely unhappy with the final product, despite its box-office success. "Now, it's a good picture for them [Paramount]," he said upon its release, "but it's not the picture I made... now the characters in the film are black-and-white, not gray-and-human as I planned them."
Hand it to Brando to be dissatisfied with a film because he didn't manage to make it as long as he wanted to. Regardless of what Brando thought, this is a really fine Western and a unique one, too - it seems fresh and "new," like a Cool Man's West or something. Having Brando (when he was still looking fairly trim) in the lead role certainly gives it a certain glamor and the story itself - and execution - is great.
Overall I wish Brando had made another film after this but to the best of my knowledge this is really the only true film he ever made. If he was just trying to prove he could direct, he did - even if the film has its flaws, it's far from bad. In fact, it's very, very good - and extremely entertaining.
4.5/5
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.
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.
Superior Western offers a psychologically complex revenge story with great performances and beautiful cinematography, but is not always coherent in its characterizations, and the romance is not quite convincing.
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.
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.
Maybe it's the fact it's carelessly fallen into the public domain, and that people can only see it now on awful quality knock off DVD's, maybe it's because it was directed by it's star Marlon Brando who had never directed before (or since), but I really can't understand why this movie isn't considered anything less than an out and out classic.
With the exception of only two or three I cannot stand the stoic American westerns of the 40's and 50's and always preferred the more anti-establishment and infinitely more stylish Italian westerns, but man 'One Eyed Jacks' definitely sits at a fascinating place between the two.
I'm not sure how much of Peckinpah's script or Kubrick's ideas made it into what was eventually Brando's film but it's definitely easy to make an argument that their marks (be it directly through the script or just through influencing Brando) are definitely there.
It has all the things that makes the BEST Spaghetti Westerns so great, a story that is uncomplicated (it's just a revenge tale) but at the same time takes no easy or obvious turns - rather than shoot his prey straight up Brando's character makes a much more protracted and fascinating game of his 'revenge'. And the reason for this (and this in part where I think Kubrick's ideas may have come in) is that this is not JUST a two dimensional story of settling scores at the end of a gun. The relationship between Karl Malden and Marlon Brando just bristles with possibility (again like the best Spaghetti Westerns and UNLIKE a John Ford western) you don't know where it's going to go. They are, more than once in the movie, allies then enemies and NEITHER of them is stupid.
And as far as Brando's film-making ability goes, his struggle behind the camera might be well documented now, and he has even written this edit off as not being the film he intended, but the direction here is not even close to amateurish. I really don't think there are many American directors in 1960 who would hold quite so long and so beautifully on Karl Malden as he considers betraying Brando for the first time. I got chills on Brando's arrival up the road to Malden's estate, and the fantastic hold on Malden's face, again long and perfectly acted, as he watches this potential angel of death draw closer. It is obvious in that moment that this is a meeting he has been in a way anticipating and wondering about for many years - and never known what it would mean. Then there's the meeting between Brando and Malden through prison bars where, with the tables turned, Malden declares he will hang Brando himself. Just cold stuff, taken from the best westerns there ever was, but done with great modern style here.
I sincerely hope a proper studio DVD of this film is produced soon and that this great western get's the recognition it deserves.
Don't be swayed by the cheap packaging, it's a wonderful film. Especially for those who love the intellectualism of Kubrick's films and the sheer action and cruelty of the Spaghetti Western :)
With the exception of only two or three I cannot stand the stoic American westerns of the 40's and 50's and always preferred the more anti-establishment and infinitely more stylish Italian westerns, but man 'One Eyed Jacks' definitely sits at a fascinating place between the two.
I'm not sure how much of Peckinpah's script or Kubrick's ideas made it into what was eventually Brando's film but it's definitely easy to make an argument that their marks (be it directly through the script or just through influencing Brando) are definitely there.
It has all the things that makes the BEST Spaghetti Westerns so great, a story that is uncomplicated (it's just a revenge tale) but at the same time takes no easy or obvious turns - rather than shoot his prey straight up Brando's character makes a much more protracted and fascinating game of his 'revenge'. And the reason for this (and this in part where I think Kubrick's ideas may have come in) is that this is not JUST a two dimensional story of settling scores at the end of a gun. The relationship between Karl Malden and Marlon Brando just bristles with possibility (again like the best Spaghetti Westerns and UNLIKE a John Ford western) you don't know where it's going to go. They are, more than once in the movie, allies then enemies and NEITHER of them is stupid.
And as far as Brando's film-making ability goes, his struggle behind the camera might be well documented now, and he has even written this edit off as not being the film he intended, but the direction here is not even close to amateurish. I really don't think there are many American directors in 1960 who would hold quite so long and so beautifully on Karl Malden as he considers betraying Brando for the first time. I got chills on Brando's arrival up the road to Malden's estate, and the fantastic hold on Malden's face, again long and perfectly acted, as he watches this potential angel of death draw closer. It is obvious in that moment that this is a meeting he has been in a way anticipating and wondering about for many years - and never known what it would mean. Then there's the meeting between Brando and Malden through prison bars where, with the tables turned, Malden declares he will hang Brando himself. Just cold stuff, taken from the best westerns there ever was, but done with great modern style here.
I sincerely hope a proper studio DVD of this film is produced soon and that this great western get's the recognition it deserves.
Don't be swayed by the cheap packaging, it's a wonderful film. Especially for those who love the intellectualism of Kubrick's films and the sheer action and cruelty of the Spaghetti Western :)
Você sabia?
- CuriosidadesMarlon Brando insisted on getting drunk to film a scene in which he was supposed to act drunk, but he got too drunk to act or direct and so he insisted on repeating the process another day. Again he got too drunk to direct or act.
- Erros de gravaçãoIn the final shootout, Sheriff Longworth has a six-shooter, but shoots off eight bullets without reloading.
- Versões alternativasNew 4K digital restoration, 2 disc,from 2016, undertaken by Universal Pictures in partnership with The Film Foundation and in consultation with filmmakers Martin Scorsese and Steven Spielberg, with uncompressed monaural sound & lots of new extras.soundtrack on the Blu-ray
- ConexõesFeatured in Moviedrome: One-Eyed Jacks (1988)
- Trilhas sonorasStreets of Laredo
(uncredited)
Traditional
[Hummed by Deputy Lon (Slim Pickens) when Luisa brings food to Rio at the jail]
Principais escolhas
Faça login para avaliar e ver a lista de recomendações personalizadas
- How long is One-Eyed Jacks?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Idiomas
- Também conhecido como
- El rostro impenetrable
- Locações de filme
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 6.000.000 (estimativa)
- Faturamento bruto mundial
- US$ 580
- Tempo de duração
- 2 h 21 min(141 min)
- Proporção
- 1.85 : 1
Contribua para esta página
Sugerir uma alteração ou adicionar conteúdo ausente