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List Price: $26.98 | | Label: Universal Studios
Salesrank: 50231
Released: May 31, 2005 |
| Our Price: $18.03 |
| Used Price: $15.99 |
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MPAA Rating: R (Restricted)
Media: DVD |
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Editorial Review:
Includes: ugly american appaloosa a countess from hong kong night of the following day Studio: Uni Dist Corp. (mca) Release Date: 05/31/2005
Marlon Brando 4-Movie Collection (The Ugly American / The Appaloosa / A Countess from Hong Kong / The Night of the Following Day) Reviews:
"The Appaloosa (1966) ... Marlon Brando ... Best of the Series" 
2009-08-03 - Universal Pictures presents "THE APPALOOSA" (14 September 1966) (99 mins/Color) (Dolby Digitally Remastered) --- This is Brando at the top of his game and Saxon is matching stroke by stroke --- Very realistic and gritty, with a fine cast to match --- Saxon the bandit who stole the horse and Brando the horse owner (The Appaloosa) --- The scene and dialog between the two with closeups are worth the price of admission, in the same scene is the arm wrestling with scorpions waiting on the table with a deadly sting to the loser --- Right up to the final shoot out Saxon steals the film, very under-rated actor has his day in the sun.
Under the production staff of:
Sidney J. Furie - Director
Robert MacLeod - Novel
James Bridges - Screenwriter
Roland Kibbee - Screenwriter
Alan Miller - Producer
Frank Skinner - Original Music
Russell Metty - Cinematographer
Ted J. Kent - Film Editor
BIOS:
1. Marlon Brando
Date of Birth: 3 April 1924 - Omaha, Nebraska
Date of Death: 1 July 2004 - Los Angeles, California
2. John Saxon (aka: Carmine Orrico)
Date of Birth: 5 August 1935 - Brooklyn, New York
Date of Death: Still Living
3. Emilio Fernández
Date of Birth: 26 March 1903 - Hondo, Coahuila, Mexico
Date of Death: 6 August 1986 - Mexico City, Mexico
4. Rafael Campos
Date of Birth: 13 May 1936 - Santiago, Dominican Republic
Date of Death: 9 July 1985 - Woodland Hills, Los Angeles, California
the cast includes
Marlon Brando ... Matt Fletcher
Anjanette Comer ... Trini
John Saxon ... Chuy Medina
Emilio Fernández ... Lazaro (as Emilio Fernandez)
Alex Montoya ... Squint Eye
Miriam Colon ... Ana
Rafael Campos ... Paco
Frank Silvera ... Ramos
Larry D. Mann ... Priest
Check out my reviews for the "THE UGLY AMERICAN" (1963)--- "A COUNTESS FROM HONG KONG" (1967) --- "THE NIGHT OF THE FOLLOWING DAY (1969)"
also available separately on the Amazon Sites --- Best of the series of four is "THE APPALOOSA" (1966), hands down as this is the only way you can get this title.
Total Time: 422 min on DVD ~ Universal Pictures ~ (05/31/2005)
THE APPALOOSA [1966]: FORGOTTEN BUT WELL-MADE WESTERN IS ONE OF THE BEST! 
2009-05-31 - THE APPALOOSA [1966] is one of my all-time favorite Westerns. It should be released on DVD on its own and not as part of a collection. Largely forgotten and rarely talked-about even among ethusiasts of the genre despite having a hall-of-famer [Marlon Brando] in the lead. It was probably lost in the wake of Sergio Leone's memorable epic THE GOOD, THE BAD AND THE UGLY of the same year. Ed Harris' THE APPALOOSA [2008], a pretentious, unrelated and perturbingly bad film only served to obscure the original even more. This is a slowly-paced, somber, brooding [thanks Leonard Maltin, couldn't have described it better], sensitive, Western saga. There's minimal action or gunfire. You must have the time and be in the right mood and in the right setting to see a this one--it's like tasting wine: let it breathe, pour it, swirl it, smell it, sip it--slowly. The film is about a dust-beaten rogue [Brando as "Mateo"] who returns home after a long hiatus. He returns with an expensive and prized Appaloosa upon which rests his dreams of retiring, owning his own farm and of helping the poor Mexican family who raised him. The horse, however, is stolen by the leader of a gang of Mexican "pistoleros" who wants the beautiful animal as a gift for his lady. The Mex badguy [Chuy Medina] is played by John Saxon, he of 50's & 60's horror/exploitation movies fame, who is ABSOLUTELY AWESOME in no doubt the finest performance of his career. He is arrogant, mean, chisled, strong. His lady was played by Anjanette Comer, a somewhat underrated character actress often seen in numerous 70's TV movies and TV shows, who never looked better. Medina warns Brando that if he wants his horse back he will have to come to Medina's Mexican town and retrieve it. Problem is, Medinas' town is a refuge for killers, fugitives, drifters, losers + outcasts and Medina himself is carefully protected by his pistoleros. Brando, against the pleas of his Mexican family who fear that he will not return alive, decides to go after his prized horse. Director Sydney J Furie, who rarely did Westerns [if any?], did an excellent job here. His detail, great use of close-ups and nice pacing was surely influenced by Leone. Geez, you could count the number of gold caps on one of the pistoleros' teeth. And how about the gritty bartender serving Brando's drink with his 'where-have-they-been' fingers submerged half way in it. What distinguishes this film from many is the vulnerability of the lead character which imparts everyday realism and sympathy for our main man. Brando, drunk during the theft of his horse, is bedraggled, humiliated and laughed at by Medina and his boys. When he reaches the Mexican haunt Medina challenges him to an arm-wrestling match with deadly scorpions on either side of the table, the winner getting the horse. Medina, physically stronger, wins the match. Brando is tossed out into the street left to die. Medina's lady, however, fed up with his possessive and demeaning treatment and of being one of his many women, takes an obtunded Brando to local sheepman Ramos [played by Frank Silvera of HOMBRE, 1967]. Ramos gives Brando sanctuary, takes care of him, brings him back to health and conceals him. Interestingly, in Brando, Medina's lady sees an opportunity to escape the hell she's been living in. It is apparent that while Medina is physically [and numerically] stronger she has come to admire Brando's gumption, perseverance and courage---just the right person to get her out of there. Indeed, Brando is emotionally, mentally stronger than Medina---has to do with the ticker, hard bark, guts, cojones. Brando is ready to go back home without his horse, but with the lady, until Medina's pistoleros show up looking for the dame. They proceed to brutalize and kill Ramos who refuses to give them any info. The plans now drastically change as Brando buries his friend and vows to return to kill Medina. It's brain over brawn this time, though, as Brando smartly uses Medina's ego and mindset against him sending one of Medina's own pistoleros to deliver a derogatory message intended to isolate and bait Medina away from his protecting pistoleros. Great lines here especially the deliciously prodding: "the poison of your scorpion is weak...like the blood of the Medina"---love this stuff. The way Brando gets Medina at the end was industrious, smart, very cool---check it out yourself. Happy ending with Brando returning home with both horse and babe. Neat how inner strength, moral courage and conviction and some level-headed thinking won out over bodies, brawn and boisterous belligerence. This has long been one of my favorite movies, Western or not. Brando gives a marvelously understated, offbeat, great performance with that unforgettable parlance. Deepest thanks to all those involved in the making of this well-crafted, atmospheric film which has given me so much pleasure over the years especially Director Furie in his FIRST Western & the actors--Brando, Saxon, Comer...and I can't forget "Squint Eye".
Brando's C-team 
2008-06-06 - There are currently three Marlon Brando boxed set film collections on the market and this is the weakest of three. None of the four films collected on this set- save perhaps "The Ugly American"- would rank within the great actor's 20 best films even if you eliminated Brando lite delights like "Superman" and the Brando lite but Brando essential "Apocalypse Now."
The other sets available each contain definitive or iconic Brando performances. The Columbia set contains "On the Waterfront" and "The Wild One" and the Warner set features "Julius Caesar" and the stunning "Reflections in a Golden Eye" and both are essential for the serious film scholar. This collection though is strictly for Brando die hards like myself and even for me it's pretty rough going. Unintentionally, the compilers have gathered three of the least compelling of all Brando performances and films in this set.
Although the '60s was a varying time for Brando, he was still doing quality work in stuff like "The Chase" and "Golden Eye". However, in all but the "Ugly American" he was mishandled on every one of the films here. All except "Night of the Following Day" had a legitimate pull for the actor. "American" was political commentary. "A Countess from Hong Kong" was Charlie Chaplin's return to direction after a lengthy absence. The "Appaloosa" was directed by a then voguish director. All except "American"(a box office flop but critical fave) were both critical and popular failures.
"Ugly American" features a very solid portrayal by Brando of a man who learns to question what he once knew for sure. The film also predicts the Viet Nam quagmire. However, it is is slowly paced and light on action.
"Night of the Following Day" is an ok kidnapping mystery with a twist ending and a decent albeit unspectacular scenery chewing villain performance by Richard Boone. Brando however just walks through his role with no attempt at interpretation. He is at his physical peak though. Donning a blonde wig, slim and sporting Kowalski like muscles, he is a thing of beauty.
"The Appaloosa" is burdened by a very slight script. Mexican Jon Saxon steals Marlon's horse and Marlon tries to get it back and then get revenge. Characterization is at a minimum and Brando (who again looks great after he shaves) reacts well to his fellow actors but the role does not give him anything to work with. Director Sidney Furie's burst of crazy camera angles (shooting through bottles, shooting the character's feet etc.) doesn't help him although Furie does get off a few beautiful images particularly the opening of Brando riding his horse past a beautiful Utah sunset. There is also a fairly interesting sequence where Brando and Saxon arm wrestle with scorpions on both sides of the table.
"A Countess from Hong Kong" is a complete disaster. Chaplin's script is trite. Sophia Loren plays a deposed Russian countess, now hooker, who stowaways in Marlon's ship cabin so she can get to the US. They fall in love. Chaplin's direction is flat as every actor stands in their own space and waits for the other to finish their lines without much interaction. There is no attempt at visual composition. It's like a high school play. It is a shame to see the degradation of a great talent but even more of a shame to see what he did to Brando. Chaplin sapped Brando of all his natural vitality and charisma in a performance so rigidly formalized that it is a slap in the face to everything for which the great actor represented. He is dead like everything else on screen. Chubby and wearing a series of unflattering tuxedos and robes, he doesn't even look good. Sophia Loren on the hand is gorgeous and her natural beauty and adequate performance are the film's sole virtues. The film is also burdened by a bargain basement look.
The transfers here are very good with sharp images and sounds. The colors are muted and washed out at times and there's some damage on the films but Universal often used lesser film and color processes than many of their competitors in those days.
There are trailers for each film included but the only real extra is an audio commentary by Director Hubert Conrnfield for "Night of the Following Day." Cornfield is on a voice box, which at times can make it a tough listen, but it's worth it as he has a lot of dish particularly about Brando who was kind of a cad during the filming. The presence of this audio commentary helps make up a bit for the lesser quality of these films.
That commentary is also avaialable on the individual issue (although it's not listed) of "Following Day". All these titles except "Appaloosa" are available on individual discs. Since the product specs are exactly the same, if you want these movies you'll probably want this set because it's about the same as buying all three and you get the "Appaloosa." It is worth noting that this edition features two sided discs. Two sided discs generally damage easier.
The absence from this set of "Bedtime Story" which Brando also made for Universal around this time is a mystery. As the prototype for "Dirty Rotten Scoundrels", it turned out to be a somewhat important film. The box which lists Brando as playing a con man, his role in that movie but in none of the movies actually listed here, indicates that it was, at one point, considered for the set. Its inclusion would have definitely made this a more interesting set.
As it is, this a niche set. If you love Brando and want everything, I would say go this route. It's a good product in that it gives you four films at a decent price and "The Appaloosa" is a DVD rarity. If you're just an interested film fan you can pass this up.
Amazing!!!!!
2007-12-12 - I bought this to give as a christmas gift. It's in perfect condition, and arrived here super fast.
2 Winners, 2 Losers
2007-07-22 - Four 'minor' Brando films, each with its own reason for watching. Night of the Following Day is a good suspense thriller during the shooting of which Brando and the director were constantly at odds. In spite of that both men were professional enough to turn out a film not quite like any other of its noir genre. Recommended. -- The Appaloosa is directed by Sidney J. Furie at a slow deliberate pace that delivers the desired emotional impact at the right times. Furie always knows what he is doing (check his body of work) and handles his cast with skill and patience. -- The Ugly Amerrican is a relic of cold war days, but does show off Brando's very real talent. -- The Countess from Hong Kong is that venerable Broadway standby, the bedroom farce. In the hands of any other director but the aged Çhaplin it might have worked as well as, say, Pajama Tops. A comedy such as this depends on impeccable timing, which regrettably here is just enough off to scuttle the film. Nevertheless, at the price, worth buying.
