Estigma da Crueldade

Pleasant classic Western with magnificent Gregory Peck who steals the show as a merciless revenger gunfighter . He is relentless in his vengeance , deadly in his violence but he learns that he has become no better than those he hunts . A Hollywood production full of action , exaggerated characters , shootouts and lots of violence . For revenge, he doesn't care why he kills or how ¡ ... . An errant Jim Douglas (Gregory Peck) sees the atrocity over his family and executes a single-handedly revenge, as he ravages and murders each person involved in his vendetta . Douglas has been relentlessly pursuing the four outlaws (Albert Salmi , Henry Silva , Stephen Boyd and Lee Van Cleef) who killed his wife, but finds them in prison about to be hanged . But the prisoners escape and villagers enlist Douglas' aid to capture them . The conflict is a simple one between avenger Douglas and oppressors, nasties bandits commanded by cruel Bill Zachary (Stephen Boyd) . Douglas along with a posse set out in pursuit the outlaws and he faces the vicious bandits.

It's an exciting western with breathtaking showdown between the protagonist Gregory Peck against four heartless bandits . In the film premiere attained success , nowadays is well valued and I think it turns out to be a good classic Western. The picture is fleshed out with a marvelous cast as Gregory Peck who is excellent as a good father turned revenger . Nice too is Henry Silva as the brash Mexican young gun and Andrew Duggan as the amiable Padre . Joan Collins gives a good performance as Jim's former girlfriend , she does a well measured portrayal of a woman who still loves her previous sweetheart and who promises to leave with him which ultimately can never be . Stephen Boyd as a cruelly baddie role also is terrific . The film packs violence , gun-play , high body-count and it's fast moving and quite entertaining. There is plenty of action in the movie , guaranteeing some shootouts or stunts every few minutes . This is a dark downbeat story of an avenger gunfighter perfectly performed by Gregory Peck told with genuine realism and honesty . Stylishly written by prestigious by Philip Yordan-Johnny Guitar- , the screenplay was based on an original story by Frank O'Rourke. The movie was directed with a positive flair by Henry King . There are many fine technicians and nice assistants as Lyle Wheeler and Walter Scott in charge of Art Direction and Set Direction respectively . Good production design creating an excellent scenario with luminous outdoors, dirty and rocky landscapes under a glimmer sun and a fine sets on the Mexican landscapes . The musician Lionel Newman composes a nice soundtrack and well conducted , being helped by the maestros Hugo Friedhofer and Alfred Newman , tough uncredited ; it's full of agreeable sounds, and a haunting musical leitmotif . Sharply photographed with striking cinematography by Leon Shamroy in Technicolor, Techniscope with negative well processed and outdoor sequences filmed in Jalisco, Mexico Morelia, Michoacán,St Jose Perua mountains, Mexico.

Henry King 's direction is well crafted , here he's less thought-provoking and broody and more inclined toward violence and too much action , because he's a expert on compelling Adventure/Western genre . Henry King directed other classic Western as ¨ Jesse James(1939)¨and ¨The gunfighter(1950)¨ with Peck again . Koster was specialist on Adventure genre as proved in ¨Untamed , Captain King , Captain of Castilla , Black Swan , Stanley and Livingstone ¨and many others . Rating : Better than average . Worthwhile watching .

John Wayne's Ethan Edwards, Jimmy Stewart's Howard Kemp, or any number of roles Kirk Douglas has played have nothing of the intensity of Gregory Peck's Jim Douglas in The Bravados.

Peck is perfect casting for the part because he's playing against type. If Atticus Finch's wife had been a homicide victim, I think this is how we would see him. Totally lose a moral compass and become a relentless stalker. It's what makes The Bravados work, because we identify Gregory Peck with an innate decency.

Peck's house was robbed and his wife raped and murdered by intruders. Peck has a line on them, they're four killers who've been caught and scheduled to hang for a bank robbery in a town several miles away where a bank teller has been killed.

But they escape with the help of the hangman, Joe DeReda soon to become a stooge. These are a quartet of the nastiest villains ever, Stephen Boyd, Albert Salmi, Lee Van Cleef, and Henry Silva all of whom have played villains with relish on the big screen. One of them, Boyd, in fact is a rapist, they take young Kathleen Gallant the daughter of the town's dry goods merchant along as a hostage.

Charles Bronson never executed bad guys with as much relish as Peck did. They are convicted murderers who've escaped, there's no law to answer to.

Peck may be doing some public service homicides, but there's a higher law he must answer to for the preservation of his own soul. In fact the ending brings quite a twist to the tale.

The Bravados is one of six films directed by long time 20th Century Fox director Henry King who is most known for doing nine films there with Tyrone Power. In fact the first couple that Peck did were probably properties that were meant for Power, but Darryl Zanuck switched them for his new up and coming leading man.

This one however is all Gregory Peck's film, I'm not sure Power could have done a better job. Peck gets some able support from the villainous quartet and from Joan Collins as an old flame he finds that has settled in the town the four have savaged.

Special mention should go to Andrew Duggan as the priest in the town where apparently everyone is Catholic. Duggan does a good job as the padre who gives just the right spiritual advice and counsel to a troubled soul.

Themes like rape were not exactly subject matter for westerns before the Fifties. The Bravadoes succeeds both as Saturday matinée shooting and as serious adult drama. It shouldn't be missed when broadcast.

"Los Bravados" proves that Henry King totally mastered the western style among many others.Much more interesting than his precedent effort "the sun also rises",this work casts Peck as a desperate man eager to take revenge of four outlaws who killed and raped his wife. he arrives in the town where the criminals -or rather the men he thinks are the criminals- are to be hanged.

The first thirty minutes are the more convincing.The soundtrack is particularly remarkable:first we hear the hammers of the men building the scaffold;often there's no music at all and this ominous noise creates an agonizing atmosphere.Then ,later,the whole congregation attends the service in a baroque church and the canticles provides the movie with an even more sinister soundtrack.The editing shows in parallel the outlaws' escape and the people praying in the church where Peck gazes upon a madonna and her child:this picture will frequently come back in the movie as a leitmotiv:it's the image of forgiveness.

Because what makes this western worthwhile is the absurdity of the vengeance it depicts.Once a victim,the hero becomes a criminal.But as the priest says ,a lot of people kill and they do not feel any remorse. King's obsession seems to be the reconstruction of the family as well:Peck and his little girl with Collins ,and the half-breed who succeeded in convincing him that he's not responsible for his misfortune.And anyway ,for this director whose body of work stretches on 50 years ,forgiveness and love are many-splendored things.

I think I saw this movie many years ago as a youngster ( I was born in 1952). I also, during the course of the movie on AMC, read a few reviews on IMBd and either due to one or two of the reviews or my previous viewing, I knew what was coming at the end. But it was still an emotional jolt. I agree with a couple of reviews, that the very end seemed sweetened up somewhat, but I went through a period in my 20's and 30's when I had grown overly cynical and didn't like 'unrealistic' endings. I have changed somewhat. I can enjoy both 'types' of movies and endings now, I believe. I am more discerningly cynical now, I hope. Where something really smells like manipulation for the wrong reasons or for greed, I trust my doubts and cynicism to kick in. 'The Bravados' deserves your trust simply because it shows a universal human weakness among terrible, heart-wrenching circumstances in a somewhat 'realistic' setting. Luck plays too big a part at times for the hero (Gregory Peck with great screen presence) during the chase. But if you disagree with his conclusions about his own actions at the end...think again.

The Bravados (1958)

Unlike John Wayne Westerns (especially the John Ford ones), a lot of Westerns from the 1950 like the Anthony Mann films are a little edgy and psychological. This one, starring a laconic Gregory Peck, is big and beautiful and classic, and it has some of that darkness to it that makes it more contemporary.

To be sure, it's still a product of the clichés of the genre. A loner is on the trail of some bad guys, and for much of the movie he hunts them down across some astonishing landscape. A woman from his past gets in the middle of it, at times, and the townspeople aren't sure what to make of him.

Peck is a great lead, and he's got a strong, if predictable, supporting cast. The woman in question is a young Joan Collins, more famous for her "Dynasty" years. Also of note is the sets and lighting--if sets is the right word. There are so many gorgeous scenes, both in town and in the wilderness, and they are filmed with such great light, it's actually worth watching just to watch. And many of the night scenes are filmed with a bold darkness, the color stripped down and everything hard to discern. This isn't actually Technicolor, but a new competitor, DeLuxe, and the restoration (at least on the Netflix streaming version) is superb.

If you like Westerns, this is one not to miss. If you don't, I think it's still really enjoyable, and might just get you looking for more. The director here, Henry King, is a Hollywood stalwart who took his hand at almost everything (from 1915 into the 1960s). And so you see a pro at work here, working within the genre, but intelligently.