Jubal and Karamazovism A passionate drama in the manner of either Emil Zola, or Fritz Lang, unfolds in the sultry aesthetics of the American South. Of course, in any case, the events of the picture fall under the genre rink of a Western. There will be no classic Mexican duels. The focus will be on mores and such a clear to many “Karamazovism”.
Felicia Farr’s temperamental heroine will capture the attention of men throughout the film, but her personal passions will be directed at one of her husband’s closest friends. Soon enough, we learn that she did not just cheat, but ruthlessly twisted men. Is it any wonder that Glenn Ford’s typical true hero was indifferent to her? Respect for a friend and irresistibility to the charms of an intriguing beauty lead all to deliberately provoked jealousy and a completely unexpected murder for everyone.
But there is a real scumbag wandering around by Rod Steiger. This one can beat a woman, and rape, and kill, and upset the people, so that the other accused. So, it turns out a nervous psychologically tense story, which is a kind of mix of Oklahoma by Zinnemann, Forty Guns by Fuller and Furies by Anthony Mann. The whole action, as it is not surprising, is reduced to a small role of Charles Bronson, who will have to throw a gun into the hands of the hero in time. And Glenn Ford won't miss. You can be sure.
It remains only to emphasize the talent of Delmer Daves. As part of the Western, a successful attempt was made to implement a serious and multifaceted dramatic combination. And this means that with the same success, the characters could act out stories from Macbeth, Eugene Onegin or any other serious work. This deserves much more attention than the unpretentious performance of Glenn Ford or the vulgar Farr.
8 out of 10