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Reviews & Ratings for
Blue More at IMDbPro »

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11 out of 14 people found the following review useful:

Loved this film

Author: fanaticita from USA
20 June 2003

As a long-time Terence Stamp fan, I finally was able to rent this video after a long search. I don't care if Terence's cockney accent slipped through now and then. It didn't distract me from watching his beautiful performance as Azul/Blue, who finds it difficult to fit into either world: the Mexican world to which he belonged after his parents were killed and he was found by the "bandit" Ortega, or the world of the "gringo" from which he came. There was some residual "Billy Budd" quality in this film which may have been unintended on Stamp's part. It was a delight to see Stamp in this role -he is such a natural. The ending was somewhat enigmatic, but the filming of the last scenes in the river were beautiful, believable, and tragic.

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12 out of 17 people found the following review useful:

Film Didn't Live Up To Fond Memories

Author: ccthemovieman-1 from United States
26 February 2007

*** This review may contain spoilers ***

For some reason I always looked back fondly on this film that I saw in the theater in the late '60s. However, when I watched it again almost 30 years later on VHS, I was really disappointed.

Since I know now that lead actor Terrence Stamp grew up in England, I found his American/ Mexican character accent - at that time - not that believable. A few times he slipped back to his native British accent.

This is one of those unusual films in which the good guy dies in the end. Many times, that makes for a more dramatic, memorable ending. Howevr, in this case, all it made for was a very unsatisfying finish.

This is not something I'd eagerly wait another 30 years to see!

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12 out of 17 people found the following review useful:

Blue is worth seeing

Author: bill0033 from California
7 June 2005

Although it has been castigated by the critics, this movie still has a lot going for it and is definitely worth seeing. Given a big budget for its time, it has outstanding photography, beautiful scenic vistas, a very good music score and great stunt work by the legendary Yakima Cannutt. It also has Terence Stamp, who is always worth watching, no matter what he does (if we skip Priscilla, Queen of the Desert). Yes, it is not hard to tell that he is an Englishman playing an American raised by Mexicans, but his lines are few and far between, and who cares anyway? If we can have Englishmen and Australians playing Roman gladiators without critical comment, let's give this one a break. I admit that, although the plot line intended to contrast a violent past with the power of love, a complete lack of tenderness in the love scenes was laughable. But overall, this movie beats most of John Wayne's westerns by a mile.

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11 out of 16 people found the following review useful:

Unusual, but great

Author: fanaticita from USA
23 June 2003

A typical Western in a way, but with Terence Stamp as the star, it is anything but typical. As a man who doesn't fit in anywhere, Blue tries to enter the culture he was born into, but is not entirely accepted. He doesn't want to return to his adoptive father and the lifestyle of a bandit. His journey to acceptance by all and his lingering affection for the only life he had known previously finally comes to a conclusion in one of the most devastatingly beautiful yet tragic scenes I've seen in a long time.

Yes, it's true Stamp's British accent slips in and one wonders where the heck is this cowboy from??!! But it's not a big distraction. Rent it and see for yourself. Stamp is awesome!

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12 out of 18 people found the following review useful:

Singin' the Blue

Author: Charles Tatum from North Dakota
17 June 2002

Terence Stamp is Azul (Spanish for "blue"), the adopted son of

Mexican bandito Ricardo Montalban. Montalban, tiring of the same

old robbing and pillaging, and sensing unrest from all of his sons

(natural and otherwise), decides to cross the river into the United

States and do some damage to the country that recently took part

of Mexico for itself.

The bandits raid a settlement, but Azul begins having a change of

heart, deciding not to kill, but to stay in the United States. He saves

Joanna Pettet's life, and is nursed back to health by her doctor

father, Karl Malden. The rest of the bandits head back to Mexico,

mourning their losses.

For the first time, and half way through the film, Blue speaks. He is

called Blue because of his eye color. He is not your typical

Mexican, also possessing blonde hair and fair skin. He begins to

take a liking to Pettet, and stays on to farm the doctor's land.

Eventually, Blue is introduced into the settlers' society, but not

without raising the suspicions of some of the bandits' victims.

Eventually, Montalban and the boys return, reclaiming one of their

own. Blue leads the settlers in an ambush of the Mexicans, and

final allegiances begin to surface.

Made in 1968, this western has a definite contemporary feel to it.

There are no good guys and bad guys, and Blue is an antihero if

there ever was one. His romance with Pettet is expected but never

forced or false. Malden is also excellent as the doctor who is

supposed to help people, murderers or not. Stamp is good as

Blue, never speaking through the first half of the film, so when he

finally does open up about himself you find yourself hanging on

his every word.

Narizzano shows a wonderful directorial eye, highlighting great

Utah scenery. He is able to generate suspense (Pettet's attack in

the general store), lust (a very good clothed love scene), and

violence (the final showdown) without getting show-offy with the

camera. Yakima Canutt was stunt coordinator here, and the

explosive finale is some of his best work.

While "Blue" might be hard to find, it is worth the rental, and I highly

recommend it.

This is unrated, and contains physical violence, strong gun

violence, gore, mild profanity, and mild sexual content.

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1 out of 1 people found the following review useful:

I am flat out pounding the table for this rarely seen western ......

Author: merklekranz from United States
18 January 2014

Although less effective than the Sergio Leone "spaghetti westerns", "Blue" deserves to be ranked up there with the likes of "The Big Gundown", and "Hang Em High". Let's start with the photography. It is better than any of the above mentioned films, including "Once Upon a Time in the West". The only flaws that keep "Blue" from greatness, are the melodramatic elements, and a less than convincing romance. Terence Stamp's torn allegiance between Mexican and American sides is perhaps overplayed, and tends to drag down the middle of the movie somewhat. However the opening and finale more than cover this annoyance. If you are a fan of the "spaghetti westerns", then "Blue" is a must see. - MERK

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1 out of 1 people found the following review useful:

BLUE (Silvio Narizzano, 1968) **1/2

Author: MARIO GAUCI ( from Naxxar, Malta
11 August 2011

This kicks off a four-movie tribute to the recently-deceased Silvio Narizzano who, in spite of his Italian name and Canadian origins, worked almost exclusively in English-language films; he made his name with the Oscar-nominated "Swinging Sixties" hit GEORGY GIRL (1966) which briefly took him to Hollywood where – like his contemporary Sidney J. Furie with THE APPALOOSA (1966) – he found himself turning a very ordinary cowboy tale into a Western with pretensions. In fact, I had missed out on this one a couple of times on Italian TV over the years, owing perhaps to its bad rep (Leonard Maltin rates this a measly *1/2) and, thus, made for a surprising choice to be issued on DVD (albeit emerging a no-frills affair) from Paramount...but, for this same reason, was extremely well-served by the transfer that utilized a gorgeous print whose colors leapt right off the screen on my 40" HD-TV!

In any case, this is a Western that, while not quite following the "Spaghetti" model (apart from the reasonably graphic violence), was still deemed an arty aberration (not least because it had British leads!) – stylistically, the film seemed to evoke the self-indulgent ONE-EYED JACKS (1961; down to recruiting Karl Malden for a major role!) whereas, thematically, it owed a good deal to HOMBRE (1967) with its racial issues and martyr hero. Its lack of critical and commercial success, for one thing, sent off star Terence Stamp (as much a brooding presence here – he is silent for the first half-hour or so, with the title itself a reference to the color of his eyes and, in fact, he goes by the name Azul i.e. Spanish for 'blue' – as Marlon Brando and Paul Newman in the two-mentioned films respectively) into a 10-year period of European wanderings mainly devoted to highbrow/obscure fare! For the record, it was originally intended for Robert Redford who, bailing out at the proverbial 11th hour, subsequently found himself slapped with a lawsuit by the studio for breach-of-contract!

The cast includes a couple of other popular names from this era: Joanna Pettet (who had been one of THE GROUP {1966}, here affecting a convincing drawl – though her acting and Stamp's is too modern for the genre, this only adds to the inherently offbeat nature of the film) and Stathis Giallelis (if only in a minor role – he is dispatched early on – having been the lead in Elia Kazan's America, America {1963}). Rounding out the protagonists are Malden, ever-reliable while not particularly taxed by his role of Pettet's dad (a doctor and thus a leading member of the settlers) and Ricardo Montalban, excellent as Stamp's own bandit-leader father (albeit only a surrogate) who had singled him out as his successor but now is inevitably drawn towards a face-off with him.

Typically, when he is prone to be civilized, the hero has to withstand backlash from both the whites for his 'animalistic' behavior (especially from Pettet's boyfriend, though the two men eventually make up and the latter is virtually made Stamp's lieutenant!) and his adoptive 'family' for turning on them (he killed a 'brother' who had tried to rape the heroine). With this in mind, the finale is properly tinged with tragic poignancy as son shoots father dead and is himself gunned down by an uncle! When Montalban threatens to decimate the entire community over what he takes to be Stamp's treason, the latter feels obligated to teach the settlers how to defend themselves: though booby traps are effectively laid along the stretch of beach where the battle is waged, the bandits' come-uppance is dealt a bit too quickly and overwhelmingly (with few losses among their own numbers!); incidentally, Pettet takes a nasty fall (clearly unintended) during her rush to comfort the dying Stamp which the director opted to retain for the finished version!

In the end, the chief assets here emerge to be pictorial and aural – courtesy of Stanley Cortez' sprawling cinematography and Manos Hadjidakis' flavorful score respectively – and these go a long way towards smoothing over the obvious narrative deficiencies (in the form of clichéd characterization and situations). A curious footnote: the contemporaneous FADE IN, a made-for-TV effort about the movie-making business that starred Burt Reynolds and which would eventually be credited to the fictitious Alan Smithee, reportedly features behind-the-scenes footage from the set of BLUE!

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8 out of 15 people found the following review useful:

Worst casting ever

Author: Julian Moruzzi ( from Cardiff, UK
7 April 2002

Terence Stamp is an actor of some range, but that range doesn't extend to playing naturalized Mexicans. His extreme unsuitability for his role is apparent as soon as he speaks: his first words - "I'll do that" - are delivered in what appears to be thick cockney; a little later his delivery has a Devon burr. Only when Blue gave an account of his upbringing did I realised he was meant to be American. The mystery is why, having kept their leading man silent for the first forty-five minutes, the film-makers should have allowed him to speak at all.

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1 out of 4 people found the following review useful:

Beautiful cinematography wasted on routine, talky, overlong western

Author: highwaytourist from United States
23 August 2010

In spite of a somewhat interesting premise, this turned out to be completely routine, similar to many westerns of the 1960's. British actor Terence Stamp is completely miscast in the title role, playing a Mexican-raised white bandito (gringro) who is cast into American society after stopping one of his compatriots from raping a woman during a raid. The rest of the cast includes some excellent actors (Karl Malden, Ricardo Montoblan, & Sally Kirkland), but they're stuck in cliché roles and can only go through the motions. The beginning and end of this film feature the usual shootouts and horseback chases, while the middle section is mostly the supporting cast talking. And boy do they talk, and it's the kind of talk you've heard in every western ever made. However, Stanley Cortez's color photography is lovely and it takes full advantage of the scenery. In the romantic lead, Joanna Pettet is also very beautiful, but her romance with Stamp's character is unconvincing. It's hardly worth two hours of melodrama and clichés. I'd call this strictly for hard-core fans of westerns.

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2 out of 6 people found the following review useful:

maimed by melodrama, iconic in imagery

Author: J J from Canada
4 February 2007

*** This review may contain spoilers ***

Maimed by melodrama yet iconic in imagery. Strange and evocative. With Brit, Terence Stamp playing "Blue" or "Azule" depending on which side of the American/ Mexican border you're on, the film surprises and I find myself watching it again. Certain scenes register effectively and haunt such as Azule's impromptu execution of a captain. Mounted on his steed, Azule simply scoops up the officer, performs the deed and follows with a ritual of circling the victim after words. The poignant ruthlessness of this act silences even hardened men. Stamp does this with such ease and 'style' that it leaves an impression that continues to shock. All humour stops in that instant. There is something iconic here that traumatizes and replays itself - leaving a silent and remote character that is truly formidable. The others fear him and Stamp's gun play is impressive, especially in it's relish. Conflict and violence give him pleasure and the action is good.

Cultures collide and this results in the film's indelible imagery. The look of the ragtag bandit bunch contrasts well with the Sunday best of the homesteaders who inhabit this film. The hunt and chase scene through cornfields is quiet vivid, realistic and leaves a crisp impression. Great photography throughout. The fabulous stunt riding that belies the wild flamboyance and daring of these bandits is very apt indeed. So well done and enjoyable to watch. Crazy good.

Azule's apparent transformation to gentleman is fun as the mystery man charms the ladies at an evening social and caps a challenge from his antagonist with a classic line - "I'm tired Mr. Parker...particularly of you" before retiring. A class act. However,there is rage within.

This film's budget should have demanded more accent coaching for Mr. Stamp but his performance is still appealing. Stamp seems to use any awkwardness to dramatic effect and to his advantage proving he is one terrific actor. Joanna Pettet although truly beautiful is lacking. Maybe she lacked that femme fatal or something to warrant betrayal and the tragedy which follows.

A tale of loyalty, love and betrayal by an already torn man. Well worth watching over despite it's defects and the action is good.

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