Olho por Olho

Lots of confusion about this film. It was entirely filmed in Almería, Spain. Where a lot of the spaghetti westerns were filmed later. Even the New York Times review thought it was filmed in Syria! It put Almería on the cinema map. Lawrence of Arabia and Cleopatra used it a few years later. Then Leone and the cowboys rode in. The director had scoured the world looking for the best scenery. But found Egypt, Libya and Jordan far too monotonous. A friend who worked in a geographical institute in France suggested he look at Almería. The film was not shown in Spain at the time, presumably because Franco and the fascists thought it would reflect badly on Spain that they had an area so bleak and poor it could stand in for north Africa. It was nominated for the Golden Lion at the 1957 Venice film. It didn't win. It was poorly reviewed in France, as Cayette was not a fashionable director. The costar later appeared in spaghetti westerns.

I saw this film in France over 35 years ago. Powerful performances from Curd Jurgens and especially Folco Lulli, enhanced by stunning desert scenery, made an indelible impact. Folco Lulli pursues a slow and implacable act of vengeance, leading the unsuspecting Jurgens further and further into the desert. The simplicity of the story-line and the intensity of the characterisation held me on the edge of my seat. The only comparable tension was that of "Jaws".

At the end of the film everyone rushed out for ice-cream and cool drinks.

I MUST see it again!

... and a good thriller!

I'd split it into two parts, the first half, deserving a '9'. The story develops most intelligently, and has the observer guessing what is going to happen. It narrows down splendidly and steers the user into an ever increasing confidence into knowing the misery that is going to develop.

The second half still has some nice quirks, including towards the end. But it is only dragging on forever most of the time. The hero breaks down a number of times, only to continue, as we might guess, a few more days, on and on.

The movie is quite modern in the sense of discussing guilt, and medical ethics, including revenge for a perceived medical error in various situations and levels.

This movie deserves much more attention than it is being given in these days.

With hindsight,André Cayatte's golden hour was the 1948-1957 years,this decade which begins with "les Amants de Verone" (which does not belong to his "legal" era,although in a way it does:aren't the final scenes some kind of trial) and ends with this film,one of his strongest and one of his harshest.Even the conclusions of "Justice Est Faite" "Avant Le Deluge" or "Nous Sommes Tous Des Assassins " were not that pessimistic;one has to watch the film made up of sketches "Retour A La Vie"(segment "Le Retour de Tante Anna" )(1949) to find such a blackness.

A doctor who has been working all day is having a rest in his home in Lebanon when a man knocks on his door:his pregnant wife is not very well and he asks for help.The exhausted physician has his servant tell the lad to drive to the hospital.On the road ,breakdown.When the doctor finally returns to the clinic,his desperate assistant tells him the woman died in the night:ectopic pregnancy .."If you had been here...".Is the doctor really responsible for this death? The first part of the film is relatively slow,building little by little an inexorable tension: strange warnings,phone calls,shadows on the wall,flat tires...The widower is a little fat man (Folco Lulli) who seems harmless .The doctor (Curd Jurgens) feels (and does not) feel guilt.From the beginning,an insistent threatening atmosphere .By the beginning of the second part (the "odyssey" in the desert),the film is on fire and there is no letup as it continues to build in intensity and drama as the tempers rise and violence and hatred become even greater .

The little fat man which seemed ridiculous does not think that revenge is a dish best eaten cold:he wants his revenge and he takes off the "assassin" towards the infinite desert where thirst and despair await :"Can you explain to me why thirst is man's worst enemy?" The feud in the desert is not unlike Von Stroheim's grandiose "greed" .And the final panoramic shot will leave you on the edge of your seat.

André Cayatte Truff' was always putting down was admired by Ingmar Bergman.Can you forget one more time the Nouvelle Vague and enjoy this extraordinary film noir,which deals with blind (animal?)justice without entering a court ?

This French drama is psychological and a bit disturbing if you're a fan of Curd Jurgens. In case you don't know, the great German hunk was fluent in French and made quite a few French movies; I was able to watch this one without English subtitles! He plays a doctor, and when Folco Lulli's wife dies because Curd insisted they go to the hospital instead of being treated by him at his home, he seeks revenge - hence the title. Obviously, as the movie continues and the torture of Curd becomes upsetting, audiences are supposed to see that Folco has become deranged because he has nothing left to lose. For me, it wasn't so terrible that I wished I hadn't watched it, but I did wish that Folco could have realized his wife's death had nothing to do with poor Curd.

Curd gets lured to a very out of the way place in the middle of the North African desert to treat a patient. He can't find his way back home, so Folco "graciously" volunteers to lead him through the desert. You can imagine the rest. If the plot appeals to you (and you can speak French), you might want to find this movie. Curd has never looked more handsome (well, okay you can watch This Happy Feeling or Adorable Sinner), and it was a pleasure to watch this obscure French flick - and to practice my French skills, too!