Fascinating to see Brando directing this revenge Western - double-crossed by Malden, his outlaw partner, he erupts from the past to haunt the older man, now a lawman and proud father - exactly as he acts, so that the whole movie smoulders in a manner that is mean, moody and magnificent. At its origin is a novel by Charles Neider which, though changing the names, retold the story of Pat Garrett and Billy the Kid. Brando's further changes (Rio/Billy now kills rather than is killed by Dad Longworth/Garrett) were evidently made with a view to indicting shifty, mendacious society as the real villain. The Freudian intentions lurking in the character conflicts and the card symbolism, the homosexual and Oedipal intimations, are underpinned by the extraordinary settings. Surely uniquely in a Western, the key scenes are played out against the rocky Monterey sea coast, with waves crashing portentously in the background, so that nature echoes the Romantic agony of a hero much given to brooding in corners or gazing out into space shrouded in his Byronic cape. The result, laced with some fine traditional sequences and stretches of masochistic violence, is a Western of remarkable though sometimes muddled power.