Cubussoli Very very predictable, including the post credit scene !!!

2hotFeature one of my absolute favorites!

Platicsco Good story, Not enough for a whole film

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

MartinHafer If you remember the story of Joseph from the Book of Genesis, you may recall how Joseph was sold (by his brothers) into slavery in Egypt. However, he soon got a job with a guy named Potiphar and became his foreman--gaining his master's devotion and respect. However, Potiphar's wife was a frisky devil and had her eyes set on Joseph. But Joseph was a moral man and loved Potiphar and consistently refused--so the bad wife was about to hatch an evil plan. So much of this is the story in "Jubal"--and quite a bit more--a western that was clearly inspired by this Biblical tale.The film begins with a drifter (Jubal, played by Glenn Ford) coming upon a large ranch. While some of the workers are very hostile towards the drifter--particularly an annoying jerk, Pinky (played by Rod Steiger). But the owner, Shep (Ernest Borgnine), is a nice man and hires Jubal. Soon, Shep notices what a great worker Jubal is and soon he makes him his foreman but there are two serious problems. First, Pinky is a bitter jerk who is determined to undermine Jubal. Second, Shep's wife is a total skunk and is determined to sleep with Jubal--something he wants nothing to do with at all. Not surprisingly, this all comes to a very bad end. Like Joseph, will this all work out in the end or will poor Jubal be totally screwed? What I liked about this is that although the basic story of Joseph is here, there are a lot of difference--so it has some unpredictability about it. Also, the story introduced some new characters. While Pinky is pretty much Steiger's Judd from "Oklahoma", Charles Bronson plays a really great supporting character--one of the actors first solid roles. And, in a genre known for only a handful of basic plots, this one is really new and different. Overall, I really liked this one and recommend you give it a try. I can't imagine you not liking it.

Spikeopath Jubal is directed by Delmer Daves and adapted by Daves and Russell S. Hughes from the Paul Wellman novel, Jubal Troop. It stars Glenn Ford, Ernest Borgnine, Rod Steiger, Charles Bronson, Valerie French & Felicia Farr. David Raksin scores the music and Charles Lawton Jr. is the cinematographer. Out of Columbia Pictures it's a CinemaScope/Technicolor production, and location for the shoot is Jackson Hole, The Grand Tetons, Wyoming, USA.Jubal Troop (Ford) is found exhausted out on the range and given shelter at a nearby ranch owned by Shep Horgan (Borgnine). Shep oversees Jubal's recovery and offers him a job as part of his ranch team. This is met with objection by Shep's mean foreman, Pinky (Steiger), but Shep is undeterred and Jubal goes on to prove his worth in the position. Shep and Jubal get on great, but trouble is brewing because Shep's pretty Canadian wife, Mae (French), has taken quite a shine to Jubal. This further enrages Pinky, and a hornets nest is stirred, spelling trouble for practically everyone.Delmer Daves' (Dark Passage/Broken Arrow) Jubal is often likened to William Shakespeare's Othello, that's something that, whilst being flattering, is best ignored. For Jubal, and its makers, deserve credit in their own right for producing such a tight, tense, adult Western. It's a film that's driven by characters who are caught in a web of jealousy and suppressed emotions, with the underrated Daves bringing some psychological dimensions into the narrative. He's also a director who knows that such a story benefits greatly by not including action and violence just for the sake of upping the tempo. He paces this film to precision, winding up the tension to breaking point, then to unleash all the pent up fury on the viewers, but even then he (correctly) chooses to keep some critical moments off the screen, gaining results far better than if stuff had actually been shown the audience (two shots in the finale are stupendously memorable). This griping human drama is played out in front of magnificent scenery, where Daves and Lawton Jr. (3:10 to Yuma/Comanche Station) utilise the CinemaScope and Technicolor facilities to their maximum potential. Filling the widescreen frame with majestic mountains,vibrant slanted forests and rolling grassy hills. The Grand Tetons location had previously been used in other notable Western movies, such as The Big Trail, The Big Sky and famously for George Stevens' Shane. While post Jubal it served a considerable purpose for Dances with Wolves. All of this grandeur for the eyes is boosted by Raksin's (Laura/Fallen Angel) score, with gentle swirls for the tender Jubal/Naomi thread and rushes for the posse sequences, it's an arrangement very at one with the mood and tempo of the story.The cast list oozes star power, and gets performances to match. Ford is a master at roles calling for underplayed intensity, and that's what he gives Jubal Troop. Keeping the characters cards close to his chest in the beginning, Ford pitches it perfect as the emotionally bottled up drifter. Borgnine, a year after his Oscar win for Marty, is perfect foil to Ford's calmness, he's in turn big and boisterous, often crude, yet under the bluster is a sweet and honest man. And there in the middle of the three men is Steiger, bringing the method. Pinky is brooding, devious and one pulse beat away from being psychotic, but Steiger, with a menacing drawl flowing out of his mouth, is creepily mannered. Steiger and Daves clashed other how to play Pinky, the director wanting something more akin to Ford's serene like role play, but Steiger wanted it played bitter and coiled spring like; the actor getting his way when producer William Fadiman sided with him.Valerie French (Decision at Sundown) looks beautiful in Technicolor, and in spite of an accent problem, does a neat line in how to play a smoldering fuse in a box of fire crackers. Felicia Farr (The Last Wagon) is the polar opposite, religiously comely and virginal, she's a touch underused but the play off with French impacts well in the story. Key support goes to Charles Bronson (The Magnificent Seven) as loyal friend to Jubal, Reb. Played with laid back machismo, it's something of what would become the trademark Bronson performance. Other notables in the support cast are the always value for money Noah Beery Jr. (Wagons West), John Dierkes (The Hanging Tree) and Jack Elam (The Man From Laramie).Damn fine film that's worthy of being sought out by those interested in the best of the 50s slew of Adult Westerns. 8.5/10

Luis Guillermo Cardona "There are two types of human beings that I deserve consideration: those men who get money at all costs because they consider only in this way shall be accepted by a woman and women who are attracted only by money, they decide to indulge in such men. Here ensured an unhappy relationship. First, as he is underestimated and is, therefore, deeply jealous, believe that because they have paid very well to the woman (who pulled out of the blue, he says) is entitled to her to be his slave. Not open to anyone who looks, speaks, or leave to have another man as a friend than him. He does not want to study or to work to avoid contact with others who may be attracted by her beauty. In short, a man so insecure and so afraid that if he had locked up in a cage that he alone had the key. Secondly, no woman, fairly lucid, is willing to live in such conditions. And so, feeling bitter about the persecution and imprisonment, and to understand that material objects did not fill, and that the openness and the deep affection that every woman wants, not what is in man, the woman begins to be hard on him, showing derogatory and does not respond to petting as he wanted. And so began the beatings, drunkenness, infidelities one way or another... and an eternal bitterness filled with tears and frustration, until one of the two decide that you must walk away from that relationship".This comment, I've taken verbatim from my book "Tomorrow the sun will rise", defines an experience similar to that recreates, to great effect, this master of cinema called in Delmer Daves his film "Jubal", a story of a landowner in his fifties (the always brilliant Ernest Borgnine) who married a beautiful and sensual young woman (Valerie French) who only sees in him a rough man, covered in money.Then their lives will intersect in a shepherd named Jubal (Glenn Ford) who, as estimated by the farmer, became his foreman and the type of man who will definitely attract the bitter girl.Daves then be responsible for defining human profiles are credible, they are nuanced and have actual reasons that explain their actions. The staging is sober, a real estates it is the scene of loneliness to this clash of emotions. "Jubal" is a psychological western where the action is focused essentially on the emotions and suspicions of the characters, from the shootings and fights to the background, without the least decay rate or the force of history. A film for any anthology of classic westerns.

Martin Bradley Othello out West. Delmar Daves' great and unjustly neglected western finds Glenn Ford's title character falling prey to ranch-hand Rod Steiger's Iago-like jealously when Ernest Borgnine's Othello-like father figure picks him as his foreman and surrogate son. Throw in the machinations of wife Valerie French who has the hots for Ford and it isn't difficult for Steiger to convince Borgnine that there's something going on.If Shakespeare's play is the blueprint, Daves' film is suitably complex in its own right and if Steiger displays a tendency to chew the scenery as he was wont to do, both Borgnine and Ford are outstanding, with Ford in particular proving something of a revelation. He has a terrific scene with Felicia Farr in which he describes his appalling childhood and how it made him the man he is. It's also magnificently photographed in cinemascope by Charles Lawton Jr; the exterior scenes are often breathtaking while the interiors use the widescreen to superb spatial effect.