User reviews

If shoot 'em up westerns are to your taste, this is probably not your cup of tea.

The theme of Civilization vs. Barbarism is nicely explored in this very unusual western. The dialog is light years beyond the dialog in most westerns. Specifically, Rio's dialog is some of the best ever written for any character in any film of this genre. Whoever wrote it must have been bi-lingual. From his syntax, it is clear Rio speaks English as his second language. It is as if he is speaking Anglicized Spanish proverbs half of the time. Very Spanish.

The gay subtext is unmistakable in the scenes between Rio and Esqueda, yet it is fairly subtle. Rio's beautiful horse and its livery, and his attire all summon up images of early cinematic western heroes. Rio looks like the Cisco Kid's dark alter- ego!

It is difficult to accept Cameron's faith that Rio is honorable enough not to kill him once he turns his back. This issue really has two aspects: One is the credibility of Cameron's trust; the second is Rio's actual trustworthiness. Today we find it difficult to believe BOTH that Cameron would be so trusting of Rio and that Rio actually would turn out to be trustworthy. Our credulity is again stretched by Cameron's entrusting Rio with his ranch and wife.

But Cameron is a newcomer to the territory, and he values Rio's savvy - about horses, ranch hands and probably survival! Cameron tells Rio that he wants him to help acquire horses for the ranch. Later Cameron's wife asks Rio about the sudden abundance of ranch hands which Cameron wasn't able to hire on his own. These things validate Cameron's motive, implausible as it may seem. I just accept that Cameron is pretty desperate and that he is a good judge of character.

Regarding Rio: There was a time when a man felt like he owed his life to someone who had saved (or spared) it. Perhaps most men still lived by that code of honor at the time the movie is set. Or perhaps this was preserved longer in Hispanic culture - Rio's culture. Or perhaps Rio is simply a throw-back in his adherence to such a code. Anyway, the issue did not ruin the movie for me.

Delia seems particularly naive (or stupid) for getting Rio to take her to plead Cameron's case with Esqueda.

Despite these weaknesses, I enjoyed the film. It never really made me feel excitement, but it generated palpable tension among several characters. However, its uniqueness and dialog were what kept me interested throughout. I found Rio to be one of the most fascinating characters in this entire genre. One of my favorite scenes is when Esqueda is kicked back in his chair in the saloon with his filthy, bare feet thrust toward the camera. Nope, not your typical western!

Before I saw this movie, I had not heard of the director John Farrow. After some research I found that he was the father of Mia Farrow. I also found that he had good writing skills. This is apparent after you view this film closely. The lead characters are Rio (Robert Taylor) and Esqueda (Anthony Quinn) who turn out to be each others alter ego--one man slaps a woman who kisses him and the other kisses a woman before she slaps him.

It's an unusual western because there is no hero--only a handsome troubled anti-hero. It is an unusual western in that Mexicans are not always painted as bad or stupid--it presents them as human beings. Even the 'bad' Esqueda has reverence for God's blessings. This probably is a result of Farrow's Catholicism as it is in the case when the priest gives the final blessings to the dead anti-hero (whose body is not shown, for some strange reason). An unusual way to end a film.

Evidently Farrow espoused family values--the couple's marriage is strengthened and Rio says his adopted mother would not have approved of her son Esqueda's actions. The family bonds between Rio and Esqueda are the cornerstones of the script, with doses of Catholicism and social comments thrown in. Something tells me the film we see today is not what the director intended to show--perhaps the studios had their say. The loose editing makes one wonder what was going on.

As far as performances, I think this is one of Quinn's finest unsung performances. Taylor is handsome and plays the dark anti-hero well--predictably dressed in dark colors. Ava Gardner's role is supposed to be heroic--dressed in white--but is it so simplistic to dismiss it as such. Is it a coincidence that she behaves differently when she wears pink?

It is a strange and a fascinating trio--Taylor, Quinn and Gardner. Farrow had, in my view, a great chance to make a memorable film but somehow fumbled.

Ride, Vaquero! is directed by John Farrow and written by Frank Fenton. It stars Robert Taylor, Ava Gardner, Howard Keel, Anthony Quinn, Kurt Kasznar and Ted de Corsa. Music is by Bronislau Kaper and cinematography by Robert Surtees.

Out of MGM and filmed in Ansco Color at Kanab in Utah (though story is set in Texas), Ride, Vaquero! is collectively unusual, bold and frustrating. Plot revolves around outlaws lead by bandido Esqueda (Quinn) refusing to let settlers and civilisation come to the Brownsville territory. So far so formulaic, then, but Esqueda's right hand man is Rio (Taylor), who was raised by Esqueda's mother and therefore they be adopted brothers. When King Cameron (Keel) and his wife Cordelia (Gardner) refuse to be shunted out of Brownsville, with King trying to rally the townsfolk against Esqueda, Rio starts to feel sympathy for the Cameron's.

What unfolds is a sort of Freudian Greek Tragedy, a love quadrilateral as Esqueda and Rio love each other in that manly brotherly way, Cordelia begins to love Rio, love which he is keen to reciprocate, while King will always love Cordelia no mater what. Action is competently put together by Farrow as it all builds to a big finale, which doesn't disappoint on narrative terms, and the airy location photography (this is one of the better Ansco Color productions I have seen) is delightful. While naturally there will be sacrifices and psychologically tinged twists along the way to keep the faithful interested.

Quinn is wonderfully ebullient, enjoying himself with a licence to chow down on the script with relish. Taylor is subdued, sleep walking through the film under direction to be a man of quiet menace and emotional confliction. Keel looks like he is desperate to sing a song, or just be some place else, while Gardner is required to just look pretty and pretty wistful from time to time. Kasznar as Father Antonio comes out in credit, but when the screenplay has him refusing stolen money to help the church - only to then have him 15 minutes later shooting away with rifle to kill his fellow man - the inconsistency in the production is further compounded.

Keel hated the boredom of the shoot, stuck out in the wilderness with nothing to do for months he said, and Gardner hated Farrow, citing him as a sleazy bully to women and horses! These complaints do show, the film feels like it's treading water, where if you take out Quinn you are left with what comes across as a bunch of actors working for food. Characterisations are not well drawn enough to make the promise of the mind matters work, and supporting players like Jack Elam wander in and out of the picture without due care and attention.

There's good intentions in the screenplay, where for 1953 this could have been ahead of its time and setting the bar for Freudian flavoured Westerns. While it's on it engages for sure, but once finished there's the distinct feeling that it was never all that it could have been. A shame really. 6/10

Two outlaws , Rio (Robert Taylor) and Esqueda (Anthony Quinn) , raised together as step-brothers , are reluctant adversaries in this fiery Western . Esqueda's mother raised Rio as her own , but this mutual fraternity will be modified in arriving a strange couple whose vision from law and justice differs quite from them . As the brothers will have a showdown when Rio defends an untameable owner (Howard Keel) and his wife (Ava Gradner) . Each owed the other their circumstances but is now the moment of reckoning . Then , there happens a real battle of wits among two siblings .

The movie gets Western action , shootouts , a love story , thrills , an impressive town raid and results to be quite entertaining . It's an enough budget film with good actors , technicians , production values and pleasing results . This is a trigger-taut drama of the strangest brotherhood and facing off between the West's most upright man and his deadliest half-brother . Their brotherhood and friendship to break up when both of whom confront over the issue of whether to evict new settlers from their territory . The picture is a tale of justice , redemption and about a particular relationship between two brothers and a brave as well as pacific marriage . The basic plot is typical classic Western fare , but what makes this movie stand out is its style . The movie displays crossfire , love and hatred , fighting , round-up and exciting duels . It is plenty of violence and contains effective action sequences such as the ending when the cutthroats get together themselves and going through spectacular landscapes and go on riding until the trilling attack on the small town raid . The rousing climax as Taylor fights to make justice at the saloon , is justly exciting . Anthony Quinn is good as brutal bandit , he is excellent though sometimes overacting , his character bears remarkable resemblance to subsequent Spaghetti villains , as killing relentlessly enemies in cold blood . Robert Taylor gives a sober and sad acting as the good brother . And Ava Gardner is gorgeous , and wonderful , as usual . Support cast is frankly nice , such as : Kurt Kasznar , Ted de Corsia , Frank McGrath, Rex Lease , Monte Blue and the regular Jack Elam .

Blazingly shot in Angiocolor by prestigious director of photography Robert Surtees . Moving and appropriate musical score by Bronislau Kaper . The motion picture was professionally directed by John Farrow in steamroller style . Here filmmaker John Farrow delivers a decently-paced film , though it has a few flaws and gaps . Farrow was a good craftsman who directed all kinds of genres , such as Drama : ¨Unholy wife¨ ; Historical : ¨John Paul Jones¨ ; Adventures : ¨Wake island¨ , ¨The years before the mast¨ , ¨Botany Bay¨ , ¨Back from eternity¨ ; Wartime : ¨Commandos strike at dawn¨ , ¨Sea Chase¨; Crime drama : ¨The big clock¨, ¨His kind of woman¨ , ¨The Saint strikes back : Criminal court¨ ; and Western : ¨A bullet is waiting¨, ¨Hondo¨, ¨Copper Canyon ¨and this ¨Ride vaquero¨ also titled ¨Una Vida Por Otra¨ or ¨Viva vaqueros¨ . Rating 6.5/10 .

While Western is not my favourite genre, it is a genre much appreciated by me and there are quite a number of classics in it. A big reason for seeing 'Ride Vaquero!' to me was the cast, most playing in very atypical roles apart from perhaps Anthony Quinn. Howard Keel's role being especially against type, being a rare non-singing role (have always loved his voice on a brief side note) and it sounded interesting as to whether Robert Taylor would fare well, did have my doubts, in one of his darkest roles.

'Ride Vaquero!' had a lot of well done elements and a lot to recommend. It is worth watching for any fans of Westerns and ones not very well known, also worth watching if you want to see something different from those starring John Wayne and those directed by John Ford and Howard Hawks for example. 'Ride Vaquero!' for me is not really a must recommend and is more a mild recommendation and a little above mixed bag level out of curiosity.

There are a lot of good things here, good things so more than good that it seems unfair and not plausible to rate the film below mixed bag level. A good starting point would be Robert Sutee's cinematography, which is pretty gorgeous. Sweeping and atmospheric. Another big plus is Bonislau Kaper's (another main interest point, have always liked him a lot as a composer) music score, that adds a lot to the atmosphere and rouses and moves in distinctive Kaper style.

On the whole, the cast were pretty good. Quinn comes off best, the role suits him really well (had no doubt that it would though) and he is deliciously unhinged. Keel is very charismatic and has a good deal of intensity. Ava Gardner is as lovely as ever. John Farrow's direction is accomplished enough and is above the material, he does direct the more action-oriented scenes thrillingly. Especially at the end.

However, 'Ride Vaquero' could have been better. Its main problem is the script, which came over as bland and underdeveloped and the dialogue could be stilted. The story was at times routine and could have done with more tension and tautness, some parts don't make much sense either or suspend disbelief (others have cited the biggest culprits).

Character motivations could have been a lot less vague, as you are left in the dark as to how some characters come to what they do and why they did it and it doesn't ring true as a result. Am not sure whether this is going to be a popular opinion, but Taylor didn't work for me in his role. Personally found him too sullen and stiff, and the role required a lot more dark intensity and charisma than what Taylor gave.

In summation, worth a look but only as a mild recommendation. 6/10

I've always felt that Ride Vaquero was one of the weakest of Robert Taylor's westerns. In playing Rio, Taylor certainly essayed one of the darkest characters he ever brought to the screen.

It's the end of the Civil War and bandit Anthony Quinn has certainly had his run of things in the area. But the Yankee army will be occupying Texas shortly. Common sense would dictate that Quinn realize the jig is up that he'd better move on. At least his foster brother Taylor thinks so, but Quinn is drunk with power and he ain't going nowhere.

Taylor finds some reason to stay when he takes one look at Ava Gardner newly arrived in Brownsville, but with husband Howard Keel. They're settling on a cattle ranch and Keel has some big plans.

Most of the story I got, but quite frankly two points of it were ridiculous. Why Keel would even consider hiring Taylor after Taylor tried to burn him out. And secondly why Ava had Taylor take her to Quinn's camp to convince him to leave her and Keel alone. Those two things make absolutely no sense at all.

Quinn is repeating the blustering role he had in Viva Zapata. But that film had a lot more depth to it. I think Quinn realized that and blustered all the more.

Other reviewers commented on the undertone of a repressed gay crush that Quinn had for Taylor. It certainly might explain Quinn's motivations. But Anthony Quinn dealt with that issue six years later in Warlock, a much better western.

It's a bad script with character motivations that make no sense. Still a good cast does the best they can by it.

Even though it's not great, Quinn's performance is memorable and he really looks - and plays - the part.

I'm also intrigued by a couple of brief scenes in this film - a wide shot of a cavalry fort and the shot of mounted troopers riding out look awfully like they came from "She Wore A Yellow Ribbon". Did John Ford help the producers fill a couple of small gaps?

Howard Keel looked much more at home in "Pagan Love Song".

Robert Taylor looks like he wore his "Billy the Kid" duds again.

It's difficult to find a good, crisp copy of the film, but worth the effort.

Strangely enough, the best acting job is turned in by Howard Keel. Quinn is, as usual, over the top (albeit, also per usual, entertainingly so) what with his yelling, snarling, cackling and sneering, while Rat Fink Bob, perhaps realizing he cannot compete with such antics, is monosyllabic, often to the point of incomprehension. Ava, as always, is on the wooden side, so that leaves the old Showboat songster, in the stolid, Paul Henried role and managing to unstiffen the fellow, as the guy who gives the most natural performance.

Alas, Keel's unpretentiousness does not extend to Frank Fenton's screenplay which has a tendency to go off on wild, philosophical tangents, especially when Kurt Kazner's priest is around, which is fairly often.

Bottom line: Typical John Farrow film. Good enough to keep you watching but not good enough to want to see it again. C plus.

PS...Almost forgot to mention a good, early Jack Elam bad guy role, thrown in for no extra charge.

Watch this movie for Anthony Quinn's unhinged performance. Do not expect anything from anybody else in the movie. The color is great, locations are great. Ava Gardner looks like she's shell-shocked. But Quinn is at his best and that was pretty damn good.

A decent cast and director but weak material and certainly does not represent any of the leading actors' best work. The plot has been recounted by other reviewers. Judging an actors' performance is subjective of course but I thought Quinn's acting self-indulgent and much to one dimensional. Another reviewer mentioned that this title was not in Maltin's Movie Guide. It is listed in his Classic Movie guide which covers movies prior to 1960. His review books do not contain every film ever made. Typically movies that received scant theatrical release, were released direct to video, or were TV movies. I don't remember an instance where a major studio film with A list actors was not listed.

(1953) Ride, Vaquero!

WESTERN

Co-written and directed by John Farrow, starring Robert Taylor as Rio standing side by side with renown Mexican bandit Esqueda played by Anthony Quinn. Upon the arrival of King Cameron (Howard Keel) and his wife Cordelia Cameron (Ava Gardner) who were looking forward moving into their new home somewhere isolated and close to the border between Mexico and the U. S.. they would come to see it already burned down to the ground and pinning the blame on Esqueda and his bandits just because King wouldn't be used as an example to other settlers who'd want to do this too. Well made solid western which works like a great book. Great dialogue exchanges, with great revelations. And I also like the fact that this is one of few movies which the lead star, who is Robert Taylor doesn't go away with the leading lady who is Gardner.

Maybe even better than John Wayne's HONDO, at least for my taste. And Anthony Quinn has a role, a character very close to the one he will have in LAST GUN FROM GUN HILL or WARLOCK, the hero's "best friend" against whom he will have to fight in the end. And remember the late Tony Quinn's film REVENGE, from director Tony Scott, still the same kind of character place in the story. I don't mean his characters look the same, but only I think that Quinn always plays the same kind of roles. He was not the only one though. Many actors were like him, always the same position in a scheme. And Robert Taylor is so ambivalent, ambiguous, as an Audie Murphy at his best, or Brian Keith in SIERRA BARON. He and Ava Gardner are absolutely awesome.