Vengeance aux deux visages

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 .

This movie gets better with every viewing. Another poster said that Karl Malden plays sinister very well--also check out "Nevada Smith" for the same type of performance. Although Brando is "Brando" so to speak, I think that his direction of the movie ie underrated. It is a much better western, or movie for that matter, than it is credited for.

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.

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 :)

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.