An Eye for an Eye (1966) Online

Robert Lansing (who looks like cross between Lee Majors and Steve McQueen) plays Talion, a retired bounty hunter who finds himself back in action hunting Slim Pickens, a sleazy outlaw who along with his two partners, murdered his family and burned down his home.

Teaming up with a cocky (wet behind the ears) fellow bounty hunter Patrick Wayne, the two find themselves badly injured in their first attempt to kill Pickens, leaving Wayne blinded and Talion unable to shoot.

Lansing and Pickens are good, while young Pat Wayne is okay, though a bit miscast. Character actor Paul Fix is quite dignified in a supporting role as the film's voice of reason and the always oily Strother Martin is great and gives the film's best performance as a money grubbing backstabber.

A thoroughly average production, An Eye For An Eye is helped considerably by excellent locations and some stunning outdoor photography, some of the best I've seen. Every scene looks like it belongs on a postcard!

If you are very lucky you'll be able to catch this western as it showed up on YouTube and I could see it for the first time since it was in theaters. An Eye For Eye is a taught and lean with a fine cast of second string players. That's no reflection on their quality just their star power.

In the great MGM epic Ben-Hur one of the subplots involved Sam Jaffe who was the House of Hur steward spending many years in jail and being beaten so bad he lost the use of his legs. So he made a partnership of sorts with Ady Barber playing a big strong man whose tongue had been cut out. Each supplied the other with what he was missing. As Jaffe said in the film 'we make a considerable man'.

Both Robert Lansing and Patrick Wayne have to supply some needs for the other in An Eye For An Eye. During an encounter with gunslinger outlaw Slim Pickens, both being bounty hunters kill two of Slim's running buddies but are left injured. Lansing's gun hand is crippled and Wayne's blinded.

Probably in time they could recover, but do they have that kind of time because Pickens is out to get them. They devise an imaginary clock like gambit to use when they have to face Pickens inevitably.

The leads are fine, but the two you will remember are first Slim Pickens who started out in westerns and got first notice as a goofy sidekick to Rex Allen. Slim expanded his range considerably and while most probably remember him for Dr. Strangelove and Blazing Saddles, he could play it mean. Western fans will also recall him in both One Eyed Jacks and Rough Night In Jericho as a villain. But he was never nastier on the screen than in this film.

Strother Martin is also in this playing a nasty toad like character who'll sell anybody out for a few dollars. He's done that before most notably as one of Lee Marvin's sidekicks in The Man Who Shot Liberty Valance, but he brings that character to its lowest depths in An Eye For An Eye.

Not much in big budget production values, but western fans, this one's a must.

Embassy Pictures was the RKO Pictures of its day - making "major studio" productions on lower budgets. In this case, VERY low - it's pretty obvious that it didn't take a lot of money (or time) to shoot this western! It starts off as a typical vengeance saga, though takes a twist when the two gunfighters are injured and must work more like a team than ever. Lansing (who greatly resembles Steve McQueen here) is okay, though a little subdued. Pat Wayne is pretty decent, and shows he could have had a bigger film career if he'd been given a chance. Slim Pickens is pretty hammy, though his character is written in a very simple-minded way, like you would expect a cowboy villain to be a few decades earlier. In fact, aside from the musical score (which has the flavor of those found in spaghetti westerns starting to come out around this time), the movie in its writing and directing greatly resembles many westerns filmed in the late '40s to early '50. Only really recommended for die-hard fans of westerns.

This summary is influenced somewhat because this reviewer has been a Robert Lansing fan as long as can be remembered. Every single time Lansing has acted in a production (TV, play, or movie), his performance has made me forget about the actor practicing a craft and to become engrossed in the role and the particular story. That is what makes a truly fine actor, in my opinion, and it is sad that Lansing had been unrecognized by the entertainment industry in general and not given more roles to portray during his career.

The story of Talion (aka An Eye For An Eye) is offbeat from the average western story, as it focuses on personal relationships between humans more than the shoot-'em-up aspects of the Old West. There is action in the gunfighting, a bit of history in Ben's background, the creativity used to surmount physical shortcomings in order to achieve a set goal, a view of family life in the hardscrabble wilderness of the 1800s, the dignity with which an aging ranch owner strives to raise his children to be honest, confidant,and respectable adults, and even some romance in the longing the early settlers must have experienced when living in a relatively lawless location and era, often far away from neighbors, family, and the diversions of city or even town life. And, it contains a lesson in morality and conscience in that the story shows even a mature adult can learn to see life from a different perspective, regardless of the events of the past.

The general production values were appropriate if not lavish, but with what appeared to be the use of genuine antiques for household props. The cinematography was outstanding, lending a real feel to what life on an isolated ranch must have been like. The ending was unusual as well, and not predictable. This is not a large production or epic western (such as THE BIG COUNTRY which was peppered with big name stars), but a lonely and tender but still a little gritty family-appropriate production.

Serve a batch of buttered popcorn, a bowl of chocolate and nuts to munch on, and your favorite beverage over ice. Curl up on the couch and turn the lights down low to enjoy this simple story of the Old West.

The gimmick in "The Fastest Guitar Alive" director Michael D. Moore's western "An Eye for an Eye" is that the two protagonists must adapt to the tragic misfortunes that crippled them after they attempted to kill a notorious outlaw. The older protagonist is injured by gunfire and cannot use his gun hand to draw his revolver, while the younger protagonist has blinded and cannot see where to shoot. The combine their talents to thwart the villain. This off-beat tale of vengeance turns on the fact that the hero is searching for the villain who raped and murdered his wife as well as his son in retaliation for the hero who killed the outlaw's brother. American westerns were experiencing changes during the middle of the 1960s as a consequence of the Spaghetti western. Although this morality yarn about two bounty hunters competing for the same outlaw is a traditional western, the problems that they encounter and the way that they resolve their problem makes for a predictable but interesting sagebrusher. Undoubtedly, freshman scenarists Bing Russell and Sumner Williams must have either seen or heard of the crippled Japanese swordsman "Zatôichi" (1962) when they sat down to pin this melodrama. Actually, a fluke of fate pulls the rug out from under our two heroes and the villain emerges as even more antagonistic before this 92 minute oater concludes with an equally unfortunate ending. Lucien Ballard's color cinematography and the backdrop of the rugged Sierras as well as the dusty terrain make this frontier western look rather authentic. Indeed, this is a down-to-earth western about men who are given a second chance to achieve their objective under the worst circumstances.

Veteran second-unit helmer Moore puts a solid cast headlined by "12 O'Clock High" television actor Robert Lansing and John Wayne's son Patrick through the paces and "An Eye for an Eye" doesn't wear out its welcome. Nevertheless, the ending remains pretty downbeat. Not even the use of a young boy (can we say "Shane") to appeal to the hero's sense of responsibility can change his decision to ride clear of relationships. Slim Pickens has been ideally cast as a no-account, low-down, dastard. Typically, Pickens appears as comic relief in most westerns, but after "One-Eyed Jacks" the former rodeo clown received some straight-up villain roles that differed entirely from his comedic roles. Later, American actor Tony Anthony adapted the "Zatôichi" narrative for a western entitled "Blindman." This Spanish-lensed Spaghetti western is a man without sight who decimates the bad guys after have stolen the mail-order brides that the workers paid him to deliver. Before this western came out, nobody had made a dust-raiser like "An Eye for an Eye." "An Eye for an Eye" opens with desperado Ike Slant (Slim Pickens of "One-Eyed Jacks") tucking in his shirt as he leaves a room where a couple of people are screaming. Basically, Ike has just raped a married woman and he is annoyed by their crying. He smashes a lamp on the wooden floorboards and sets the house ablaze as Jonas (one-time only actor Jerry Gatling) and Charley Beetson (Henry Wills of "The Sons of Katie Elder") scramble outside. Before he leaves, Ike shoots the woman once and the little boy second. Retired bounty hunter Talion (Robert Lansing of "A Gathering of Eagles") rides home to find his shack wreathed in flames. He can do nothing to either stop the blaze or save his wife and son. Trumbull (Strother Martin of "Slap Shot") sneaks up behind Talion and informs him that he knows who burned down his house. When he begs for money in exchange for his information, Talion disarms him and holds him at bay with his own revolver. Afterward, Talion wanders into a camp on the trail. He meets another bounty hunter Benny Wallace (Patrick Wayne of "The Alamo"), and they strike up an uneasy friendship that suffers from the strain put on it because they both are searching for the same dastard, Ike Slant. Our heroes begin their search for Slant, and they descend into an area where an older man, Brian Quince (Paul Fix of "Nevada Smith"), mistakes them for lawman and allows them to sample the food that his daughter, Bri Quince (Gloria Talbott of "Daughter of Dr. Jekyll"), serves them. Bri's little boy, Jo-Hi (Clint Howard of "The Courtship of Eddie's Father"), takes a shine to Talion and they become friends. Meanwhile, Brian labors under the impression that Talion and Benny are lawmen, not bounty hunters. Later, after he learns that our heroes are bounty hunters, Brian forbids them to enter their property. Moreover, Brian sets out to discourage his daughter, Bri Quince, from having anything to do with him. Talion and Benny ride out and catch the Beetson brothers and Ike in the open. A brief gunfight erupts. Talion loses the use of his right hand when Ike knocks the six-gun out of his fist. Benny blasts the two Beetson brothers as they try to escape on horseback.

Some days pass before Talion admits to himself that he can no longer wield his revolver in his right hand. Ironically, Benny observes that Talion, who struggled to take care of him, cannot take care of himself. Meantime, Benny's head gash has affected his vision so that he is practically blind. Talion breaks down and explains to Benny that their only hope for survival is to challenge Ike to a duel but they will stand alongside each other. Talion has established a system for Benny. They set up a target practice range, and Talion calls out a number that indicates where Benny will shoot. While all of this is transpiring, Talion and Bri become romantically linked. Unfortunately, neither is allowed to wed each other. Ike Slant meets Talion and Benny in the street and Benny drops him. The treacherous Turnball makes an unscheduled appearance again and he guns down Benny moments after Benny drops Ike.

"An Eye for an Eye" qualifies an entertaining, off-beat, violent western.

Rugged veteran bounty hunter Talian (a fine and credible performance by Robert Lansing) and amiable eager beaver novice Benny Wallace (a likable portrayal by Patrick Wayne) join forces to nab vicious no-count cowboy Ike Slant (robustly played to the deliciously despicable hilt by Slim Pickens). Both are left crippled after a confrontation with Slant: Talian's gun hand gets maimed while Benny is blinded. The duo concoct a unique method to get revenge on Slant. Director Michael Moore, working from a compact script by Bing Russell and Sumner Williams, relates the absorbing story at a steady pace, maintains a serious tone throughout, and stages the stirring shoot-outs with real skill. This film further benefits from capable acting from the sound cast: Lansing and Wayner display a nice and natural chemistry as the engaging protagonists, Pickens makes for a pleasingly mean and detestable villain, the always terrific Strother Martin almost steals the whole show with his marvelously wormy turn as slimy and sniveling rat Trumball the Fink, plus there are sturdy contributions by Paul Fix as folksy storekeeper Brian Quince, fetching Gloria Talbott as the sweet Bri Quince, and a very young Clint Howard as cute little squirt kid Jo-Hi. Lucien Ballard's sharp cinematography gives the film a strikingly lovely picturesque look. Raoul Kraushaar's twangy score hits the harmonic spot. The climactic showdown between our two disabled heroes and Slant is quite tense and exciting. A solid and satisfying Grade B oater.

Eye for an Eye (1966) I would recommend this only for fans of Robert Lansing (which I am). From the very first strains of the guitar and whistling over the opening credits (which was absolutely awful) I seriously wondered how low the budget was.

Two crippled bounty hunters (one blinded and one with a crippled hand) team up to seek revenge. Sounds like good fuel for a satisfying plot but somehow the spirit keeps getting lost.

Strother Martin (love Strother) is up to his usual eccentric character performance. Same with the antagonist, Slim Pickens. Lansing is laconic as usual. A very young Clint Howard plays an overly ebullient child. Not that the character was oddly too loud but that Clint himself never uses his 'indoor' voice. Even at that early age.

But despite the mostly adequate performances the plodding pace and discouraging themes push me toward 'thumbs down'. No saving overall payoff for the 92 minute investment.

I've seen Chill Wills as a villain before, but Man, he really takes it to the limit here as outlaw Ike Slant. In an opening scene, not only does he torch a rancher's home, but shoots a woman and a crying child (off screen) before his crew makes a getaway. That was cold.

Seeking revenge for the murder of his family, former bounty hunter Talion (Robert Lansing) teams up with young gunslinger Benny Wallace (Patrick Wayne) to track the killers and bring them to justice. Talion makes no pretense of what he really feels - "I just want to make sure they all die, son". This is the first time I've seen Lansing in a lead role and I thought he had the perfect look for other Western portrayals, though I don't think I've caught him in any before. As other reviewers have noted, he has that Steve McQueen look going for him, the first thing I thought of when he showed up in the picture.

The story pretty much plays out by the book, with a nominal love interest for Talion in the person of Gloria Talbott's character, Bri Quince. It seems to me the writers miscalculated with the tease because at the end of the story, Talion rode off into the proverbial sunset leaving the disappointed girl behind. There was really no reason why the picture couldn't have pulled it off, it seemed like a loose end that should have been tied up.

The main plot element here has to do with Talion becoming the eyes for partner Benny when the up and coming bounty hunter is blinded by an Ike Slant ricochet. Some time is spent on Talion being patient with his protégé as he learns to handle his gun visualizing the minutes on a clock. That seemed a little odd to me because clocks aren't linear, but the strategy managed to work for the final showdown.

It's always cool to see Paul Fix and Strother Martin in support roles, but I have to admit, I could never get used to seeing Clint Howard as a character actor. At least as a kid; he has the perfect look as an adult for any number of roles calling for a deranged individual. Let's just say he was the complete opposite of his brother Ron.

If you watched TV in the late 60s into the 70's, you will remember the faces of most of the actors in this otherwise mediocre western. The story, although clichéd from our vantage point, maintains enough interest to keep watching, despite the washed out film print. The production values also high enough not to interfere with enjoying the picture. Mostly, it's seeing all these familiar actors once again coming together to breathe life into Hollywood's vision of the old West.

With the emergence of films such as Little Big Man (1970) and Soldier Blue (1970), the "revisionist" had become the new version of the West, until the disastrous Heaven's Gate (1980) which finally ended the genre. It was left to the Europeans with the Spaghetti westerns of the mid-60's and the rise of Clint Eastwood as a "movie star" (transitioning from his TV western side-kick work in Rawhide) to return the Western to the big screen.

But, this mid-60's entry to the classic Western genre gives us a last act with so many famiar faces from the Golden Era of the Western Slim Pickins (playing against type as the villan), Paul Fix as the surrogate town marshall, Strother Martin, in his usual role as the whiny snitch, Rance Howard (father of Ron) and his son Clint (although without his bear!) and finally Patrick Wayne, standing in for his father John Wayne, to give the film it's final nod to the great westerns of the near past.

Seeing all these western players in one last Hollywood movie is fun enough to make up for any flaws in acting or production. Making An Eye for an Eye a worthy entry in the Western canon.

Disgusting, tasteless, and pointless film drenched in cruelty, hate, and obscene violence. The acting is as wooden as the characters are shallow and hateful. Lone Pine is certainly at its best, although, Lucian Ballard's usually excellent cinematography is lackluster. It appears Embassy Pictures tried to save money by having the print processed at Fotomat. The direction is uninspired except to depict the soul-dead characters as beyond redemption and the violence as both just plain stupid and sickening. The sadism depicted is unique and absolutely pointless. To think that in 1966 anyone actually bought a ticket to see this garbage in a theater is beyond imagination.