Marlon Brando portrays a fearless, sharp-shooting character in "The Missouri Breaks." The story centers on a wealthy Montana rancher (John McLiam) in the late 1800s who hires an unusual assassin (Marlon Brando) to deal with a gang of rustlers led by Jack Nicholson, whose activities are severely impacting his profits. Arthur Penn's "The Missouri Breaks," featuring Brando and Nicholson, was considered a failure upon its 1976 release. Leonard Maltin labeled it a "BOMB." The question becomes: Is this film truly as bad as its reputation suggests? It’s difficult to find characters you can genuinely root for. John McLiam's portrayal of the rancher, Braxton, is unlikeable; his family life is troubled, with his wife having left him and his daughter displaying disturbing behavior by sleeping with the outlaw stealing from her father. While Jack Nicholson as Tom Logan possesses a certain charm, he and his gang are thieves. Despite Braxton’s unpleasantness, it's still wrong for him to be taken advantage of after years of hard work building his ranch. Brando’s character, Lee Clayton, the Irish assassin, is an intriguing figure—a genuine eccentric. He’s fearless, unusual, and intimidating. I found myself wanting him to eliminate the criminal element. They chose a life outside the law, so they should face the consequences of their actions; living on the frontier was challenging enough without outlaws seeking to profit unfairly. There's a moment where one of the rustlers seemingly learns from his mistakes and turns toward a more honest path. A memorable scene occurs when Clayton visits Logan’s farm, which also serves as a relay station. He makes it clear he knows Logan is involved in the rustling operation, delivering a subtly threatening warning. An odd bubble bath scene features Brando's character being threatened with a gun. His initial reaction is characteristic of his fearless and strange nature, but then he unexpectedly turns away, seemingly submitting. Initially, this seemed illogical. However, it became clear that beneath his quirky exterior, Clayton is a lonely, unhappy outcast—a societal misfit who may have been welcoming an end to his suffering. "The Missouri Breaks" presents numerous such contradictions and thought-provoking elements. For example, there’s a scene depicting a defenseless colt trapped in a world of human-made devastation, yet it's ultimately saved by the compassion of a criminal. A puzzling aspect is Clayton’s insistence on completing his job—assassinating all the outlaws—even after Braxton refuses to pay him. He states he isn't motivated by money; then what drives him? Is it simply the thrill of killing, or does he see himself as an instrument of justice? The film has a contemporary feel that allows it to age well, indicating it was roughly 15 years ahead of its time—many Westerns, such as "The Searchers" and "The Man Who Shot Liberty Valance," now seem dated. However, it’s not an action movie; it lacks the rapid editing common in modern films. Its style and pace are reminiscent of Clint Eastwood's acclaimed "Unforgiven." The Montana locations are stunning; filming took place in the Billings/Red Lodge area. This marks one of several Western roles for Marlon Brando, including "Viva Zapata!" (1952), the influential "One-Eyed Jacks" (1961) and “The Appaloosa” (1966). Ultimately, "The Missouri Breaks" is a well-crafted Western with strong direction, cinematography, acting, locations, costumes, sets, realism, and leaves you reflecting on it afterward. The presence of Brando and Nicholson elevates the film considerably. It’s a film I enjoy watching repeatedly; each viewing reveals new layers and keeps me engaged. This suggests a work that is either genuinely great or profoundly complex. As for the conclusion, it resolves itself in what seems like the only possible way—with one character finding redemption and another finally freed from his burdens. The movie runs two hours and six minutes. GRADE: A-

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