ma-cortes 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 .

krdement 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!

Panamint DISCLAIMER: My comments below are all directed at the script, and not at the great actors who give worthwhile performances in this movie.It is hard to figure the motivations of the leading characters. Taylor portrays a dark character who just gets darker and darker, but we don't get any real essence of Rio's motivations. Taylor is great as tight-lipped, sparse-worded Rio, but you constantly want to understand "whats up with this guy?".Keel is fine as a one-dimensional empire builder, but it is so ridiculous when he hires Rio and entrusts his life (and his wife's!) immediately after Rio tries to kill him. I have seen this movie on TV twice, and both times this scene makes me say out loud "uh-uh, no way". If I ever see it in a theater, I will be the guy in the audience talking back to the screen. What's really too bad is that the acting is good in this scene, the set is good, the color photography is good, etc. Gardner is fine as a genteel lady, but it is not believable when she suddenly demands to go see Quinn at his hideout. Maybe OK if she had been teary-eyed and desperate, bravely going forth to save her husband, but no: as presented, her decision seems bland and unbelievable. Not Gardner's fault, just the script and/or director.Quinn does a good job but his character seems to have no motivation at all, other than some sort of nostalgia for his childhood with his momma and Rio.Well-made movie, some suspense, will probably hold your interest. However, the good production values, acting etc cannot overcome the basic oddity of these characters as presented. Some of their actions are truly unexplainable.

lorenellroy Set in the area around Brownsville ,Texas in the immediate post Civil War era this is a splendid if slightly over heated picture.The area is dominated by Mexican bandido Esqueda ,well played by Anthony Quinn, who with the aid of his Anglo sidekick Rio(a taciturn but effective Robert Taylor)seeks to ensure settlers do not occupy the region as he views them as a threat to the way of life he has established.Trouble arrives in the form of Howard Keel who ,with wife Ava Gardner by his side is set on resisting all attempts to drive him out of the territory.Rio is won over to the cause ,somewhat more due to the beauteous Gardner than to any principled reasons.The scene is set for the final confrontation between Rio and Esqueda in the town saloonThere are hints of a repressed sexual attraction for Taylor by Quinn in the script anticipating the theme of his role in Warlock( probably still the most grievously neglected Western classic) and the Taylor character displaying a penchent for an early version of gay chic in the clothing department underscores this The Quinn character is not a one dimensional villain-there is a reason for his stance and he displays a marked religious bentGood support from the great Jack Elam and Kurt Kaznar as the priest who takes a stand against Quinn.Gardner while beautiful was no great shakes as an actress and this together with an over stolid turn from Keel are the only real problems with the movie