Marlon Brando - A Face Oculta (One-Eyed Jacks) - 1961

banda sonora- inglês # dobragem - caselhano .

 

Enviado por CINETELMULTIMEDIA em 17/10/2011

Tras cometer el robo a un banco de una pequeña localidad en la frontera de Méjico, Dan Longworth (Karl Malden) decide huir con todo el botín y abandonar a su amigo y compañero de felonías, Río (Marlon Brando), a su suerte. Tras ser arrestado por la justicia mejicana y pasar cinco amargos años en la dura prisión de Sonora, Río consigue fugarse con el único objetivo de encontrar a su antiguo compañero y tomarse venganza por su traición. Sin embargo, planeando el asalto a un banco de Monterey, se encontrará con que el traidor es ahora el respetable sheriff del pueblo, el cual ha pasado todos estos años temiendo su regreso. Sin embargo, Río quedará perdidamente enamorado de la hija de Dan, Louisa, lo que encenderá las iras del sheriff. Nominada al Oscar a la Mejor Fotografía, Color (Charles Lang), en 1962, Ganadora de la Concha de Oro (Marlon Brando) y del Premio San Sebastián a la Mejor Actriz (Pina Pellicer), en 1961 en el Festival Internacional de Cine de San Sebastián, Nominada al Premio DGA (dirección: Marlon Brando) en 1962, Nominada al Laurel de Oro al Mejor Drama de Acción (4º puesto) y 2º Puesto al Laurel de Oro a la Mejor Fotografía, Color, en 1962. Como curiosidad, el rodaje de esta película lo comenzó el director Stanley Kubrick, si bien quien lo terminó y acabó firándolo fue Marlon Brando. "Western sin precedentes, psicológico, fantasmagórico, abstracto. También, un ejercicio de egolatría feroz. Pero las barrocas imágenes suponen en su osadía un alarde tal que se le perdona el narcisismo" (Miguel Ángel Palomo: Diario El País).

One-Eyed Jacks, a 1961 Western, is the only film directed by actor Marlon Brando, who also played its lead character, Rio. It is also notable for what it almost was: a film directed by Stanley Kubrick from a screenplay by Sam Peckinpah. Other members of the cast include Karl Malden, Slim Pickens, Katy Jurado and Ben Johnson.´

Rod Serling, already famed as the creator of The Twilight Zone series, wrote an adaptation of the novel The Authentic Death of Hendry Jones by Charles Neider (1956), at the request of producer Frank P. Rosenberg. The book was a fictional treatment of the familiar Billy the Kid story, relocated from New Mexico to the Monterey Peninsula in California. The treatment was rejected.

Rosenberg next hired Sam Peckinpah, who finished his first script on 11 November 1957. Marlon Brando's Pennebaker Productions had paid $40,000 for the rights to Authentic Death and then signed a contract with Stanley Kubrick to direct for Paramount Pictures. Peckinpah handed in a revised screenplay on 6 May 1959. Later, Brando fired Peckinpah and hired Calder Willingham, but he and Brando stalled, so both Willingham and Kubrick were fired. Guy Trosper became the new screenwriter and worked on the story with Brando, who volunteered to serve as director.

The movie had very little resemblance to the Neider novel, and what remains has much more resonance with history than fiction. At various times, the two credited screenwriters and the uncredited Peckinpah have claimed (or had claimed for them) a majority of the responsibility for the film. When Karl Malden answered the query about who really wrote the story he said: "There is one answer to your question — Marlon Brando, a genius in our time."

One-Eyed Jacks received mixed reviews from critics. Review aggregator Rotten Tomatoes reports that 46% critics have given the film a positive review, with a rating average of 6.2/10. Bosley Crowther of The New York Times, favorably influenced by Brando's efforts, noted: "... Directed and played with the kind of vicious style that Mr. Brando has put into so many of his skulking, scabrous roles. Realism is redolent in them, as it is in many details of the film. But, at the same time, it is curiously surrounded by elements of creamed-cliché romance and a kind of pictorial extravagance that you usually see in South Sea island films."^[3] Variety, on the other hand, wrote: "It is an oddity of this film that both its strength and its weakness lie in the area of characterization. Brando's concept calls, above all, for depth of character, for human figures endowed with overlapping good and bad sides to their nature."^] Dave Kehr ofThe Chicago Reader wrote: "There is a strong Freudian pull to the situation (the partner's name is “Dad”) that is more ritualized than dramatized: the most memorable scenes have a fierce masochistic intensity, as if Brando were taking the opportunity to punish himself for some unknown crime. (Wikipedia)

------------------.-