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One-Eyed Jacks

Pennebaker Productions

United States of America

Flashes of greatness standing out in chopped messy Western.

I was never that smitten with this film many years ago on my first viewing, but now, with the advent of time, I like to think I view films with newer and wiser perspectives. Sadly I can't say that One-Eyed Jacks has left me anything other than frustrated and cold with disappointment.

Marlon Brando took over directing duties from Stanley Kubrick after the two giants fell out about the direction the picture was taking, this let Brando loose to shoot for 6 months on a film meant to be wrapped in two. Now this may be the main problem to me because the film is painfully devoid of major fleshing out of the characters, scenes are not expanded and there are obvious gaps due to mass editing cuts. It reads on the screen that our protagonist gets sentenced to 5 years in jail, two seconds later we see a bearded haggard man escaping prison chained to another inmate, next shot he is clean shaved and it seems we have missed some important chat between the two escapists. On it goes throughout the picture, I'm sure that the final elongated cut (rumoured to be between 4 & 6 hours) would have been a joyous experience, but as it is we get a cut down 141 minutes of film that rather outstays it's welcome. And to get through it you really need to believe in patience being a virtue.

Brando of course holds court and is never less than interesting, and at times he sizzles and dominates the screen in the way that Marlon was want to do. But the whole performance has the reek of over indulgence about it. Making it more about the actor than the actual narrative. Along side him, Karl Malden is solid and gruff as the villain of the piece, but Katy Jurado is badly underused and seems like an afterthought to be an important character. Sadly, too, Pina Pellicer struggles to convince in her only American film, but naturally that is not important in the context that she was to take her own life at the woefully young age of 29 (depending on what site you believe as regards age at death). The bright spot here is the cinematography from Charles Lang Jr at the various sites in California, it is simply gorgeous, check out the coastline shots and take it all in. I personally feel that this film is one that Brando fans choose to ignore the major flaws with. His name some how making the end product seem better than it actually is. In its longest form I'm sure it "could have been a contender" in the great Western stakes, as it is it remains average and something of an unfulfilling disappointment. 5/10

_**One of the GREAT Westerns**_

Dad Longworth (Karl Malden) literally "takes the money and runs" as he leaves his young partner in crime, Kid Rio (Marlon Brando), behind to rot in a Mexican prison. Rio escapes 5 years later with only vengeance in mind. He finds Dad in Monterey, California, now a respectable town Sheriff with a Mexican wife (Katy Jurado) and step-daughter, Louisa (Pina Pellicer), living the American Dream on the beautiful Pacific coast. The situation is complicated by Rio's teaming up with two lowlife criminals whose only intent is to rob the town bank (Ben Johnson and Sam Gilman), as well as Rio's romantic dallyings with Louisa. 

"One-Eyed Jacks" was Brando's only stab at directing and his original cut of the film was twice as long (!). I would love to see this director's cut, which HAS been shown on TV, but this 141-minute cut is fine as is. 

Not only is "One-Eyed Jacks" one of the best Westerns of all time, it's also one of Brando's top films. What makes it so great? Several things. Brando is at his most captivating here, but the story is entrancing as well, even though it's more of a slow drama Western than an action/adventure. When the action comes, however, it's quick and realistic.

There are numerous themes running through the long story. One of the major ones is the clash of the misfit with conventional society. Since society is composed of a bunch of conformist misfits, the misfit must learn to conform if s/he wants to fit in and succeed. In other words, if you want to 'make it' in conventional society it's necessary to hide your problematic past & flaws and put on a front of respectability. Dad Longworth has figured this out and he's not about to allow Rio to ruin it for him.

I would like to offer a word of defense for Dad Longworth: Although it was wrong for him to take the money and leave Rio to be captured, one can't help but empathize with him. If he went back for Rio there was a high risk of capture or death. The safest and most promising route was the selfish one. The good thing is that Dad wisely took advantage of this opportunity and made a good life for himself in Monterey. He was obviously sick of his criminal lifestyle and wanted a real life, a real job and real family. He was getting on in years and knew that this may well be his final opportunity, so he took it.

The problem is that one's past always has a way of haunting us or coming back to bite us in the hind end, which is another theme of the film; hence, Rio walks back into Dad's life 5 years later and his American dream is suddenly threatened. Notice Dad's rage when he whips/beats Rio to an inch of his life; he's doing everything in his power to kill the ugly phantoms of his past, which is why he tries to get Rio hung on false charges later in the story.

Another theme is how love is tied to redemption. Both Dad and Rio are criminals, but both desire redemption and a better life. The love of Dad's wife and the Monterey general populace brings this out in Dad, whereas Louisa's love for Rio slowly changes him. Near the end we plainly see that Rio no longer wants to kill anyone, he doesn't even want to see his nemesis; all he wants is to run off with his lady love. If Rio remained the same person he was at the beginning of the story "One-Eyed Jacks" wouldn't be half the film it is.

In addition, Dad's love for Katie, his Mexican wife, is what delivered Katie and Louisa "from the beanfields," as Dad puts it.

Love goes hand-in-hand with loyalty or faithfulness. We see this in Rio's likable Mexican sidekick, Chico (Larry Duran).

One of the best qualities of "Jacks" is that it's refreshingly realistic. There's no goofiness, unbelievable one-liners, over-the-top action or excruciatingly dated aspects, except for the opening credits & corresponding score. Thankfully, the rest of the film isn't.

"One-Eyed Jacks" was the obvious precursor to the Spaghetti Western. For instance, the protagonist is a dyed-in-the-wool "cool" anti-hero (like, say, Eastwood). The main difference between "Jacks" and most Spaghetti Westerns, however, is that "Jacks" has a worthwhile story, which can't be said for most Italo-Westerns; also the anti-hero in "One-Eyed Jacks" slowly transforms into a potentially positive member of society.

The film's influence goes well beyond just the Spaghetti Westerns. Take, for instance, the crucifixion-style beating and long restoration. "Conan the Barbarian" (1982) pretty much ripped-off this entire sequence; Arnold Schwarzenegger even admitted to it.

Pina Pellicer does a notable job as Rio's girlfriend Louisa. Spiritually-speaking, she's incredible. Although she commits a foolish error after getting drunk, on a whole she's the epitome of love, virtue and spirituality. Again, this love is the key factor in someone's metamorphosis.

Unfortunately Pina committed suicide a few years after "Jacks" was released. Thankfully we have this film to remember her beauty and virtue.

"Jacks" was filmed entirely in California with all the coastal sequences photographed on the Monterey Peninsula, including Pebble Beach. This is one of the few Westerns where you'll see the Pacific Ocean (you'll also see it at the beginning of 1954's "Garden of Evil"). Other locations include Big Sur and Death Valley.

GRADE: A

One-Eyed Jacks

The motion picture that starts its own tradition of greatness.

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