7.2/10
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One-Eyed Jacks (1961)

Not Rated | | Western | 8 July 1961 (Japan)
After robbing a Mexican bank, Dad Longworth takes the loot and leaves his partner Rio to be captured but Rio escapes and searches for Dad in California.

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Writers:

(screenplay), (screenplay) | 1 more credit »
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Nominated for 1 Oscar. Another 2 wins & 3 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
Rio
...
...
Maria Longworth
...
...
Larry Duran ...
...
...
Howard Tetley
...
Redhead
...
Carvey (as Elisha Cook)
...
Mexican Rurale Captain (as Rudolph Acosta)
Tom Webb ...
Farmer's Son
...
Barney
...
Chet
...
Uncle
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Storyline

Running from the law after a bank robbery in Mexico, Dad Longworth finds an opportunity to take the stolen gold and leave his partner Rio 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. Written by Ken Yousten <kyousten@bev.net>

Plot Summary | Plot Synopsis

Taglines:

NOW THE SCREEN ACHIEVES SURPASSING GREATNESS! (original ad - all caps) See more »

Genres:

Western

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

8 July 1961 (Japan)  »

Also Known As:

Guns Up  »

Filming Locations:

 »

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Box Office

Budget:

$6,000,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The character of Rio originally was based on Billy the Kid, as recounted in Charles Neider's novel "The Authentic Death of Hendry Jones." Sam Peckinpah, who wrote an early version of the script and who later went on to direct Pat Garrett & Billy the Kid (1973), said in a 1973 "Playboy" magazine interview that Marlon Brando would not play a villain, and Billy the Kid most definitely was a villain. Peckinpah's 1973 film shares some narrative elements with this film and it also featured "Jacks" co-stars Slim Pickens and Katy Jurado. See more »

Goofs

The glass tankards that the party-goers drink from in the fiesta (c.56 minutes) are of a design first produced around the 1920s. See more »

Quotes

Deputy Lon Dedrick: You got a lot of guts, ain't you kid?
Rio: You're the one with the gut Lon.
See more »

Connections

Referenced in Hollywood and the Stars: They Went That-a-way (1963) See more »

Soundtracks

Streets of Laredo
(uncredited)
Traditional
[Hummed by Deputy Lon when Luisa brings food to Rio at the jail]
See more »

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User Reviews

GREAT western (surprisingly)
13 February 2008 | by See all my reviews

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 :)


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