An Eye for an Eye (1966)

An Eye for an EyeThe wild west gunslinger is one of the most iconic archetypes to come out of the western genre, right up there with the cowboy and the cavalry trooper. But how about a more specific gunfighter? I’m thinking the disabled gunfighter, undone by wounds, disease, and any number of other plights. With 1966’s An Eye for an Eye, we don’t get one…but two disabled gunfighters!

An infamous bounty hunter, Talion (Robert Lansing) has given up his career with guns and started a family. An enemy from his past though, bloodthirsty Ike Slant (Slim Pickens), isn’t having it though, raping Talion’s wife, then killing her and their son, burning the house down on the way out. Swearing revenge, Talion picks up the gunman’s trail, eventually meeting a younger bounty hunter, Benny Wallace (Patrick Wayne) along the way. They form an uneasy partnership to track down and kill Slant and the two gunfighters riding with him. Their plan goes awry though, forcing the two unlikely partners to depend on each other far more than they ever anticipated. Can they put their rivalry aside to get Slant?

An interesting little western. Definitely a B-western with a smaller budget and cast, ‘Eye’ is still an entertaining, different western entry. I first rented it on Netflix years ago and recently recorded an airing on TCM. It’s not a classic, but it holds up. A second unit director predominantly, director Michael Moore (not that Michael Moore) works off a script from Bing Russell, a familiar face western fans will have seen in The Horse Soldiers and countless other TV westerns. It’s pretty traditional overall but rises above with a nice twist delivered near the halfway point. Stop your reading if you don’t want to be spoiled.

That nice twist? In a showdown with Slant and two gunmen, Talion’s gun-hand is crippled and Benny is blinded by a wayward bullet. Slant escapes, only to find out later that the bounty hunter duo is basically helpless and would be easy targets. Needing each other more than ever, Talion and Benny devise a plan where the crippled gunman calls out where the target is as if that target was a specific time on a clock, Benny doing the shooting. Pretty cool, huh? I thought so. It’s unique and different from just about any other western I’ve seen. It gets definite points for originality. End of relative spoilers.

Neither Lansing or Wayne had huge star power, but we’re talking two very capable western/action actors. I like Lansing’s Talion and the edge he brings to the part. Wayne — often overshadowed by his Dad, the Duke, nicely holds his own here. He does very well physically as the blinded bounty hunter, but he gets to show off his acting chops a bit (if a little overdone with one unnecessary twist late). As for Pickens, he looks to be having a ball as the villain, hamming it up and enjoying his turn as a bad guy. You realize he often played likable sidekicks, not getting many villainous roles.

Also look for the always welcome Paul Fix as a store owner in an isolated mountain town, working with his daughter (Gloria Talbott) and precocious son (a young Clint Howard). Another recognizable face, Strother Martin, gets to work the middle as a greedy gunhand who works for whoever pays him. A little slow-going at times as Talion meets (and sorta woos) Talbott’s Bri, but it’s never too slow. It definitely builds up the tension to the inevitable showdowns.

Something likable about this little-known western. Doesn’t rewrite the genre, but seems to enjoy throwing a new wrench into a familiar formula. Snow-capped, windy filming locations in Lone Pine, California definitely add to the mood. Worth a watch for western fans. I’m seeing different running times listed — avoid the “full movie” on Youtube at 76 minutes — but both versions I saw clocked in at about 95 minutes. Just a hopefully helpful FYI!

An Eye for an Eye (1966): ** 1/2 /****

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The Man Who Shot Liberty Valance

the_man_who_shot_liberty_valanceAsk a western fan what John Ford movie is his favorite, and you’ll get any number of answers. Rightfully so too, Ford directing gem after gem. My personal favorite is 1948’s She Wore a Yellow Ribbon. Ford’s tone shifted later in his career though, portraying the American west in a more realistic, negative view. I’d say more honest. Movies like The Searchers, Two Rode Together, Sergeant Rutledge, and of course, 1962’s The Man Who Shot Liberty Valance, all dug deeper, portraying a west unlike we’d seen in the director’s previous efforts.

A lawyer from the East, Ransom Stoddard (James Stewart) is on a stagecoach heading to the town of Shinbone in a western territory when the coach is attacked by an infamous bandit, Liberty Valance (Lee Marvin), and his gang. Stoddard is savagely beaten but nursed back to health in Shinbone. It is turbulent times in the budding town and territory with a potential push for statehood on the line. Stoddard becomes a key person in the fight, all the way trying to figure out what life in the west is like. Valance constantly berates the lawyer, but a small rancher who’s fast with a gun, Tom Doniphon (John Wayne), always seems to be in the right place at the right time. With so much on the line for so many people, Stoddard must decide how far he wants to push his luck.

By all accounts, ‘Liberty Valance’ is the anti-John Ford western. Shot in black and white on the Hollywood backlot, there are no sweeping vistas, no majestic shots of riders on the horizon. Instead, this is a story about the people, their relationships and the turbulent times they find themselves in. There’s little in the way of gunplay/gunfights. It’s just not your typical western, but it is a film that’s firing on all cylinders. A classic that deserves its reputation.

Never a bad thing when two Hollywood legends star together. They were in How the West Was Won together but had no scenes together. They were excellent together in several great scenes in The Shootist. What’s so cool here is the dynamic. Both Ransom and Tom believe in the same things, just different ways of accomplishing those things. I love Stewart’s Ransom and the character arc he goes through. It’s a fascinating character. He hates guns, hate violence and abhors bullies. He sees Tom’s ways of doing things and can’t get on-board with it…until he does. Not your typical western hero — by a long shot — but one that brings a great, unique edge to a familiar genre.

Ford and Wayne go together like peanut butter and jelly, albeit PB that’s abusive to the J. Wayne did some of his best work in Ford films — especially She Wore a Yellow Ribbon and The Searchers — but Ford was infamous for railing on his star non-stop. So was the case here as Ford picked on Wayne mercilessly. Well…it worked. This is one of Wayne’s more underrated parts. His Tom Doniphon is a bit of a bully himself, constantly calling Ransom ‘Pilgrim,’ but he’s a small rancher who’s well-respected (even feared) and is lightning quick with a gun. Like Ethan Edwards in The Searchers, Doniphon is a tragic character here too, an arc that all comes together in a fitting, moving and at times, tough to watch conclusion. Kudos to the two Hollywood greats.

Easily one of Ford’s strongest casts from top to bottom. Vera Miles is Hallie, the uneducated waitress who’s drawn to both Tom and Ransom (oh no! A love triangle!), avoiding plenty of awkward pratfalls. Marvin is terrifyingly perfect as Liberty, an unhinged psycho capable of all sorts of violence. Edmond O’Brien hams it up and steals his scenes as alcoholic newspaper editor Dutton Peabody. Andy Devine is the cowardly sheriff because of course he is. Gotta mention Woody Strode who in subtle fashion steals his scenes (as he usually did) as Pompey, Tom’s “man,” almost a right-hand man kind of deal, not a slave but always at his side.

Also look for John Carradine, Denver Pyle, Lee Van Cleef, Strother Martin, Jeanette Nolan, John Qualen and plenty more familiar faces to round out the cast.

Earlier in his career, Ford’s films tended to have a broad, obvious sense of humor that bordered on too much (and sometimes was just way too much). His later films lost that innocence. Sure, Devine gets some laughs, but it’s far more subtle. There’s a darkness here that hangs in the air. It’s always building to that inevitable showdown, but even there, a twist is revealed in a lightning-quick noir-esque flashback that’s beyond perfect. There is an edge, a violence, a meanness (especially in Valance) that brings the movie up a notch. The black and white filming goes a long way toward aiding the cause in that department.

‘Valance’ is famous for one of the best lines in western history. Simpy put, it’s “When the legend becomes fact, print the legend.” The story is held with a framing device that adds some additional layers to the story. I won’t spoil it here, but it works on basically all levels. Some great storytelling from beginning to end as we try to piece it all together as an audience.

I can’t say enough about this western. It’s not your typical Ford western, not even your typical western in general. It had been years since I watched it, and I loved catching back up with it. I came away very impressed with Stewart’s performance this time. There’s a moment late where he’s simply a man who’s had enough. He’s been pushed too far. If he has to die righting a wrong, his Ransom Stoddard — educated to the bone — is ready to pick up a gun and die for it. The end result propels the last 25 minutes of the movie to a highly memorable finale. Go watch this one.

The Man Who Shot Liberty Valance (1962): ****/****