User reviews

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 .

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.

It is unusual to see a beach and ocean scene in a western but maybe it took a first time director to incorporate these elements in a western set in Monterey, California.

One-Eyed Jacks is Marlon Brando's only film as a director. He was reportedly unhappy with the production company trimming the film down in post production. In turn they were also not happy that the film went over budget.

Brando plays Rio who hangs out with 'Dad' Longworth (Karl Malden) in Mexico. When they are trapped in the desert, surrounded by the Mexican police, Dad makes off with his liberty and the gold while Rio ends up in prison.

Five years later Rio escapes and arrives in a Monterey town where Dad is the sheriff. He has settled down with a wife and step daughter. Rio is looking for revenge despite saying the past is the past.

Rio and his gang want to rob a bank and Rio takes the opportunity to seduce the stepdaughter. After Rio shoots a bully in a bar in self defence, Dad publicly whips Rio and breaks his shooting hand.

There is an Oedipal relationship between Rio and 'Dad.' However both go about at a leisurely pace in taking their revenge. Dad knows he has done wrong by not coming for Rio. He now has a lot to lose after making a respectable life for himself. Rio remains a rogue, constantly lying, always fibbing to the ladies. I could not for a moment believe in his relationship with the step daughter after his mendacity.

The film benefits from nice cinematography, it was one of the last movies made in Vista Vision, it captures the desert landscape really well. Given Brando's view of American history, he does not have a misty eyed view of a golden age of the west. His vision is of liars, cynics and cheaters.

Dad and Rio are rogues, it is just that Dad is hiding it underneath the veneer of respectability. When goaded by Rio, Dad shows his true face.

The problem is that the film is too long even after being cut down by the production company. The story meanders too much in a leisurely way. Brando was astute enough to have those familiar western faces such as Slim Pickens, Ben Johnson and Elisha Cook jr in the picture.

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.

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.

One-Eyed Jacks not only is a superb Western, one of my all-time favorites, it is also an excellent Oedipal drama that moves beyond the bounds of genre into the mytho-poetic. Brando and Karl Malden both turn in outstanding performances, and the supporting cast, featuring Slim Pickens, Ben Johnson and Katy Jurado, is wonderful.

Incidentally, the featured user comment "The Lost Eye, The Lost Ear" by tedg is erroneous: Stanley Kubrick was fired from the picture, tentatively titled "A Burst of Vermillion," BEFORE he was called on by Kirk Douglas, who had an option on his services as part of the contract for "Paths of Glory," to replace the fired Anthony Mann on "Spartacus." Kubrick, who had increasingly become fed up with the snail-pace progress on developing the script due to Marlon Brando's eccentric work methods, had wanted to cast Spencer Tracy in the role of Dad Longworth, but Brando was adamant about Karl Malden filling the role. According to one account, a frustrated Kubrick has asked Brando: "Marlon, I don't know what this picture is about."

"It's about the $400,000 I've paid Karl Malden."

Kubrick, according to the account, said he could not work under those conditions and quit the picture. (Another account holds that Brando overheard Kubrick tell one of the producers that they'd have to keep Brando away from the script if they were ever to make the shooting date. Brando then fired him.) Officially, the press release said that Kubrick had resigned in order to work on "Lolita," the then infamous Nabokov novel he and his producer partner James Harris (also under contract to Kirk Douglas) had recently acquired.

"One-Eyed Jacks" began shooting in late 1958 (whereas "Spartacus" began shooting in early 1959) and went months over schedule and millions over budget, being shot in the expensive VistaVision process that cost 50 cents a foot in late 1950s prices. Brando reportedly shot hundreds of thousands of feet of footage as he sought inspiration for both himself and his actors, particularly the emotionally fragile Pina Pellicer, the young Mexican actress who had just set out on her tragically abbreviated career. It is said that Karl Malden always calls his beautiful Los Angeles home "The House That 'One-Eyed Jacks' Built" due to the small fortune in over-time he made from the film.

Incidentally, Sam Peckinpah wrote the first draft of the screenplay, based on the novel "The Authentic Death of Hendry Jones," a fictionalized retelling of the life of Billy the Kid. Later, Peckinpah would incorporate similar material such as the jailhouse scenes into his retelling of the Billy the Kid legend, "Pat Garrett & Billy the Kid." In a PLAYBOY interview, Peckinpah explained that he was fired by Brando as Peckinpah had written Rio, the protagonist, as a killer as Billy the Kid was a killer in real-life and Brando would not play such a character.

The film took over a year to edit after principal photography ended in 1959. Eventually, the studio took the film away from Brando and recut it to their own tastes. Brando reportedly did not object, becoming fed-up with editing after spending so much time trying to perfect his film. He did complain, after the fact, that the studio cut took away the moral ambiguity he sought for his character. Brando said that all the characters in the film but Dad Longworth, the ostensible heavy, are two faced -- "one-eyed jacks," with one face on top, the public face, and another face that is hidden. Although Rio accuses Dad of being a "one-eyed jack," to Brando, Dad was the only one who was honest in the film.

In Brando's cut, Dad's last shot meant for Rio hits his step-daughter Louisa instead, killing her and thus leaving Rio with nothing in the end. The studio used the alternative ending where Rio and Louisa have an emotional parting at the beach, and Rio promises to return to her.

In a development that seemingly foreshadows his future personal life, Brando had an affair on-set with Pina Pellicer, who later committed suicide. Their scenes together are quite affecting as they are emotionally true.

It's 1880 in Sonara, Mexico. Rio (Marlon Brando) is a bank robber on the run from the authorities. His partner Dad Longworth (Karl Malden) double-crosses him and escapes leaving Rio behind. Rio is captured but he escapes from Sonora prison 5 years later. He hunts down Dad who is now a sheriff in California.

This is most notable for being Marlon Brando's one and only directing effort. It's a simple western with some competent scenes. However there are a lot of amateurish camera work too. There's a reason Brando never became a director. Eventually he lost his overly long movie to be recut by the studio.

The movie as it is cut by the studio is a slow disjointed western. It's not anything original or special. Karl Malden and Marlon Brando are both great actors in their prime. Neither characters are simple and the movie is compelling enough to watch. Mostly just to see what these great actors are going to do. There is a couple of nice performances from Pina Pellicer and Katy Jurado.

In the only film that Marlon Brando ever directed, One Eyed Jacks, he and Karl Malden play a pair of amiable bank robbers who are operating south of the border. During a robbery the rest of the gang is killed and Brando's horse is shot from under him. With the Federales closing in there's no way one horse could carry them both as Butch Cassidy and the Sundance Kid later found out. Malden elects to go for fresh mounts, only Malden doesn't come back. The Federales capture Brando and he's off to do a stretch in a Mexican prison.

Fast forward several years and Brando busts out of prison and goes north of the border. He and his fellow escapee Larry Duran fall in with robbers Ben Johnson and Sam Gilman. Johnson brings Brando an irresistible proposition. A bank in Monterey, California that he says will be easy to rob. And the best part, Karl Malden has gone respectable and is the sheriff there.

Malden's not only respectable, he's a married guy now, married to Katy Jurado and stepfather to the wide eyed Pina Pellicer. A good line of talk and the sight of Pellicer ease Brando's resolve for revenge.

In this stylistic western that is good, but doesn't quite make it to classic standards, Brando has managed to bring Hamlet out west. It took Hamlet the whole play to finally settle with his intended target and it takes Brando just about as long. His character Rio moves in fits and starts like Hamlet, gets sidetracked a few times as well like the melancholy Dane. Hamlet's target is his stepfather who killed his real father and usurped the throne and it's no coincident that Malden's character is named Dad.

Brando wisely cast his film with folks from previous westerns who look quite at home on the range if he sometimes doesn't. My best moment is Brando outwitting that lout of a deputy Malden has, Slim Pickens to affect a jail break.

Marlon Brando's legion of fans should find One Eyed Jacks acceptable and other western aficionados will like it as well.

Revenge and payback are the central theme in this film and is what keeps a cowboy going in his obsession to track down a former partner in crime. Marlon Brando stars and directs this fine drama as the flawed Rio searches for his erstwhile pal who sold him out to a posse several years earlier. Most of the film's characters are unsavory types and the peace officers aren't much better. This picture has the great natural beauty of the Monterrey peninsula and Death Valley, and Karl Malden and Ben Johnson, among others, do superb work. Brando looks a tad overweight in his tight-fitting Mexican cowboy outfits. The film has plenty of drama and excitement and is accompanied by a wonderful music score by Hugo Friedhofer. Although some critics panned this film, it has legions of devotees.

From what I've read, Brando and Kubrick disagreed on script contents, and Brando, being the heavyweight at the time, gave Kubrick the ol' heave-ho. Whatever Kubrick's version was to be, it had to be superior to the film's final product which can be summed: Love conquers all. All the characters are exaggerated almost to the point of absurdity. This is most likely the product of Brando's inexperience as a director. The film lacks any genuine sense of realism and so, there is no amount of intensity to Brando's (Rio) plight. When he's jailed, a day way from being hung, you know it's not going to happen. Great supporting actors of the Western genre such as Ben Johnson, Slim Pickens and Kathy Jurado are essentially wasted. What's good about it? The cinematography is excellent. Cowboys riding horses against the backdrop of the California coastline is an unusual setting, and camera man Charles Lang uses it to maximum effect. I read that the musical score is considered great, but I just didn't notice it. When you compare this Western to the works of John Ford, Howard Hawks, Anthony Mann, Sam Peckinpah, and Sergio Leone, it's just not in that class. Yes, it's a pretty good movie, but not in the same ballpark as the works of the aforementioned masters of the cowboy movie.

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

As a ravishing Marlon Brando fan i was delighted to stumble across the DVD version of his first (and thus far only) attempt at directing, for a measly £5.00, which is about 1/4 of a regular priced disc. I was of course slightly apprehensive about getting it for this price because theres a reason it must be priced so low. Thankfully a lot of this can be given to the fact there are no extras, not even scene selection, and the picture and sound is not as crisp as you would hope in this day and age. Aside from the quality of the disc the film is actually reasonably good. By no means is this as good as a Sergio Leone western, but never the less it will pass a good saturday afternoon.

The film is famous for the director changing before production (originally Kubrick but i dont need to tell you that i think ever review mentains this), and for the 5 hour running time which was practically halved by Paramount, which did upset Sir Marlon (thankfully its not 5 hours as that would be pretty torturous). However few i've met have actually seen it, and this is down to the fact that its never on TV and the DVD sucks and is quite rare. Brando didnt direct again and the film has become famous for this one fact, otherwise it may just have been another of his 1960's drivel that noone really remembers like 'A Countess from Hong Kong'.

Admittedly the 60's were a dry patch for Brando before the glorious comeback which i need not remind you of, and the man on screen is not quite the man of 10 years prior or 10 years after. Hes less explosive, he almost seems like dare i say, a regular actor, he seems tired and as a result this will not be remembered as one of his great performances. Though this doesnt mean its bad, some of the expressions he makes are as good as ever, its just not a remarkable performance which he's of course capable of, and notable for. Karl Malden on the other had is excellent, i've developed a liking for this guy after his great performances in 'Streetcar' and his even better one in 'Waterfront' both with Brando, but in 'Jacks' the partnership is less good than before.

This may be down the the average storyline, its very ordinary and you kind of know whats going to happen anyway. However its not boring as theres enough action to keep you interested, even if the love story wasnt well developed at all. The cinematography is excellent, oscar nominated i add, deservedly so. Brando does a decent job in the chair, though hes hardly the guy he is the other side of the lens. I think it would be very interesting to see the way the method acting worked while he was working the camara. Perhaps the directing duties helped distract his performance in some way, this is not to say its a bad one, just not a great one.

Despite the flaws the film does satisfy you, and its certainly above average. Brando fans will be satisfied and its notably one of his 'better' 60's films, though that doesnt speak the world does it. I dont doubt that Brando could have improved on this as a director, and for his first picture it does in part impress you. However i feel that if it wasnt remembered for the director this film may have just easily been forgotten for being regulation, which it probably is to be fair, even if it is entertaining. Not to say theres that much wrong with this film, its not special, its not bad and its not one of the great westerns from the time, but a passable one.

If you like westerns and Brando then you'll possibly enjoy it, as i did, but you'll possibly not remember it in a years time. Marlon Brando is possibly the greatest actor to have lived, and has far more up his sleave than this (though its true to say he has much worse).

I'm not going to tell you that you 'must' rush out now and buy this film, and to put off your next breath while you search every shop in town just to give it a peek. But what i will say is that if you can find it for £5.00 in your local video store then its definately worth the gamble, just dont expect to hit the 'Jack'-pot.

***/*****

Originally a project for Stanley Kubrick and then went into the hands of Brando, this is not your everyday Cowboy yarn. It's very surprising that the direction so well crafted and flawless for a first time director. The film is a kind of "Old friends turns true enemies" (obvious that this film was the inspiration for Sam Peckinpah western "Pat Garret and Billy the kid" but Brando's is much much better.) with Brando as the Betrayed Rio and Karl Malden in his most nasty. Also film features the lovely actress Pina Pellicer as Brando love interest. The scenery is a real eye candy and the score is wonderful. It's unacceptable that such a classic known by so few people these days. Watch this underrated classic - you won't be disappointed. I rate this a 10/10.Recommended

Not bad at all. This fast moving, beautifully photographed western was Marlon Brando's only directing effort and he clearly learned a lot from the likes of Elia Kazan. The emphasis is on character, not necessarily action. This is a very rare non-Peckinpah western to have a flawed hero. Brando is on the lam after being betrayed by one-time com-padre Karl Malden. Malden is excellent as "Dad," a rotten man who now wears a badge. The movie is surprisingly devoid of any self-indulgence and Brando makes good use of the Northern California locations. He also had the good sense to cast the likes of Ben Johnson, Timothy Carey, Slim Pickens and the great Katy Jurado, who's terrific as Malden's wife.

Running from the law after a bank robbery in Mexico, Dad Longworth (Karl Malden) finds an opportunity to take the stolen gold and leave his partner Rio (Marlon Brando) to be captured. Years later, Rio escapes from the prison where he has been since, and hunts down Dad for revenge. Dad is now a respectable sheriff in California, and has been living in fear of Rio's return.

What would this film have been like in the hands of Stanley Kubrick? Sadly, we will never know. But I would love to hear more about this, how far along it got before Kubrick backed out. Did he touch the script, cast any of the actors? Or was it mostly just talk?

Marlon Brando's cut is said to be five hours. I am sure some people want that to be released. I, for one, am not sure I need to see the whole thing. However, this is definitely a film in need of some cleaning up. Good editions might exist, but the one I watched was not one of them. Where is our Criterion special edition?

ONE-EYED JACKS is a western, which is based on a conflict between the brutality of the Wild West and an intense romance.

The three outlaws successfully rob bank in Sonora, Mexico. However, Mexican rurales track them and catch them celebrating in a cantina. The two outlaws manage to escape. One of the outlaws has, during an exciting chase, betrayed his partner and ran away with their gold. The second outlaw is arrested and transported to prison by way of a jacalito where he learns first hand of betrayal from an owner. He spends five hard years in a Sonora prison, before he escapes with his new partner. He decides to find his old friend. However, the betrayer has used their wealth to become the sheriff of Monterey, California. The fugitive plans a revenge, but he falls in love with a lovely sheriff's stepdaughter...

This is an unlikely illusion, which runs between insecurity and greed. Mr. Brando has, despite the fact that the main protagonist is an outlaw (an antagonist), exaggerated with melodramas in this film. This is an important flaw. The conflict between the two antagonists emphasizes anti western style as sub-genre. This is a positive aspect, which causes a cold tension in this story. The duel between the two of them is very realistic. A romance, with a lot of charm, is a quite tasty and unobtrusive. Simply, Mr. Brando was not experienced enough to connect all the positive aspects in a single unit.

The scenery, together with the photography is excellent, although not corresponded to the mood in this film. I can not be sure, maybe it's just a game between different contrast.

Marlon Brando as Rio is a dominant and very interesting character, who has a frequent and somewhat inappropriately explosion of his feelings. He shows the complexity of an outlaw. Karl Malden as Dad Longworth is a villain, who is rotten to the core. Katy Jurado as Maria Longworth is not got enough space. Her character is not fully developed. Pina Pellicer as Louisa is a charming voice of reason, which is very quickly thrown into the fire.

This is a very ambitious experiment by an inexperienced director.

This film is essential viewing for Brando fans. Brando directs for the only time . Working from a script that is in part based on the legend of Pat Garrett and Billy the Kid, Brando interweaves themes of betrayal, revenge and hypocrisy into something strangely hypnotic and real. Particularly effective in this respect is the scene with Karl Malden and Brando on the outskirts of Monterey where the two sit reminiscing amusingly about their past together and the viewer is left wondering if at any moment the two of them might end up blowing each others heads off. The other key to this film is setting it on the west coast of California thereby giving it a feel and rhythm that is unique to the western genre. All in all a greatly neglected treasure.

Standard revenge oater with a double-crossed Rio (Marlon Brando) hunting down his betrayer Dad Longworth (Karl Malden), who has now gone straight and is the sheriff of Monterey. The story is formulaic but the script and acting are fine and there are some good action scenes and nice desert and coastal scenery. Pretty much all of the male leads in the film are miserable b**tards (although not surprisingly Brando's character 'repents'). Longworth is a liar who abandoned his best friend to the pursuing Rurales after knocking over a Mexican bank, and even the usually affable character actors Ben Johnson and Slim Pickens play mean-spirited low-lifes. On the distaff side, Pina Pellicer is excellent as Longworth's stepdaughter who falls for Rio (this was the first time I saw this lovely Mexican actress and I was saddened when I read of her early death). The film has a harsh edge and is one of the earlier 'hard' Westerns that would eventually lead to brutal films such as 'The Wild Bunch' (1969) and 'Ulzana's Raid' (1972) as well as the flood of European 'anti-hero' Westerns that followed Sergio Leone's ground breaking 'Fistful of Dollars' (1964). "0ne-Eyed Jacks' was directed by Brando (who replaced Kubrick) and there are numerous anecdotes concerning cost overruns and the eccentric actor's behaviour on the set.

One-Eyed Jacks (1961): A 36-year-old Brando plays Rio, a bank robber who after a Mexican robbery turned sideways is betrayed by his partner Dad Longworth, played by Karl Malden. After five years in a Sonoran Desert, Rio breaks out and looks for revenge on Dad. He connects with a few other gun hands who tell him the whereabouts of Longworth - he's the Sheriff of Monterey. They head up there to rob the bank in his town and for Rio to get revenge. This near 2.5 hour film, directed by Marlon Brando (his own only directorial feature), tries to fit in a lot of character development and romantic entanglements between this swift opening act and what we all know is eventually coming. Unfortunately, this attempt at showing the depth and greys of gunfighters doesn't engage, it mostly drags. Karl Malden's Longworth does get a couple of moments to really stand out, presaging the kind of character we'd find in someone like Gene Hackman's Little Bill. The ultimate shootout is a bit underwhelming and the quick ending afterwards feels like studio interference to shorten the film. A notable film, but a miss.