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Movie came out when I was two, but even know it stands the test of time...Great seeing a movie with powerful acting and great writing...Though he knows he is running a great risk, this Spanish hero wants to go back to see his Mom one last time...The ending definitely is a Sad ending, but a Powerful one about the love of a Son even in Political hard times and during War...Definitely think this is a truly great movie with a good cast...Check it out if you can...

I first saw this black and white movie when I was only 19, and it made a big impression on me. I have always rooted from the underdog, as for example, the role Gregory Peck plays to perfection. Although Anthony Quinn is supposedly the enemy, Peck is really still fighting a lost war, which is a much bigger issue for him than one police chief. This, of course, is why he kills the informer, formerly his close and trusted friend, rather than Anthony Quinn, the police chief. The greater enemy for Peck is the Catholic Church, which sided with Franco and the Nationalists during the Spanish Civil War, just as it did in Nazi Germany, against the Jews. The pivotal revelation and internal conflict for Peck's role is that a simple parish priest has obviously come to his personal aid (the role played by Omar Sharif), rather than that his friend has turned informer. With the Catholic Church on the side of the Republicans, the civil war may have had a different outcome. Of course, under Franco, the dictator-church bond continued and even got stronger. This is why the Franco Government got upset with Columbia Pictures, not because Anthony Quinn has a mistress in the movie! What this shows is that most movie critics know nothing about the Spanish Civil War. This reflects badly on them, rather than on the movie, a great and beautifully filmed example of never giving in to defeat in the face of tyranny.

Wow, this film has some odd casting. Although the people in the film are supposed to be Spanish, none of the major actors in the film are from Spain. The weirdest casting was Gregory Peck. Gregory Peck?! At least Anthony Quinn kinda looks Spanish (heck, he's played just about every nationality there is plus half his background is Mexican). And having Muslim-convert Omar Sharif playing a Spanish Catholic priest...! All this is really strange and it's a shame they didn't let any Spaniards play these roles. Now part of this could be because Franco did NOT like the film and probably wouldn't have allowed anyone living in Spain to be in the film. But surely there must have been some expatriates or at least people who seemed more Spanish than Gregory Peck. He was a wonderful actor, certainly, but here he was badly miscast...as was Sharif. The film begins with a quick summary of the Spanish Civil War in the 1930s. At the end, when the Republican forces lost, the surviving fighters are shown turning in their arms and immigrating to France. However, Peck's character refuses to give up the fight and apparently spent the next 20 years making violent incursions into his native land. For this, he is now a wanted criminal--not just an ex-Republican soldier. Now, after 20 years, Peck is living in France and his mother back in Spain is dying. Police chief Quinn now plans to use this approaching death as a chance to lure Peck into a trap. Now considering that Peck has killed and robbed rather senselessly since the war ended, he does deserve to be captured, so in some ways you actually are rooting for the Fascist police to capture him. An interesting twist, as Americans in general were pro-Republican (or ambivalent). The problem is that when Peck doesn't fall into the trap right away AND his mother dies, Quinn needs to keep this a secret--otherwise the plan will come to nothing. But, unknown to Quinn, young priest Sharif has inexplicably agreed to take a message to Peck from his mother in the hospital that warns him of the trap. Now considering that the woman had refused the last rights and cursed God, it is confusing why a priest (and they were mostly pro-Nationalist/Franco) would take the trouble or risk to help. This is, by far, the biggest flaw with the film. His motivation for this was confusing--helping an Atheist to send a message to her Atheist son who is a wanted criminal and killer. Plus, what if priest-hating Peck just decides to kill him?! As far as Peck goes, as least his role is interesting. He is not sympathetic (considering his post-war record) and he's incredibly nasty at times to the young boy in the film. He slaps the kid and tells him to get lost. This is NOT Atticus Finch (TO KILL A MOCKING BIRD) or Ezra Baxter (THE YEARLING)!! I can commend Peck for being willing to play such an unlikable guy. And, the film is interesting in how it takes this child's hero-worship of Peck and quickly erodes it. The problem is, for many, with the Franco government (they're bad, m'kay?!) and a violent criminal who lost sight of his once commendable cause, you are left wondering who to root for in the film. For some, this isn't a problem and for others, like myself, I really didn't care about the characters so I was left feeling disconnected and ambivalent. Now it is well made and well directed, but it's still a film I'd rather have not seen. With so many films out there, I could have easily done better.

As I said on the message board about this film, I agree with those who felt that Peck was miscast as a European. My view of Peck is that he is a STAR, one who is effective really only in parts that suit his very American, warm hearted, leading man persona. As for the reviewer who complained that 1964 was a bit late to be making a feature in black-and-white, actually, no, lots of features continued to be made in black-and-white for another three years, at least. By 1967, it was a lot rarer to find one, even from the more arty or new wave directors in Europe, where black-and-white had been de riguer, for the most part. Bogdanovich's "The Last Picture Show" and "Paper Moon" were retro glories by the early 70s. (I think he used a red or infrared filter to get those great darks in his b&ws.) Forgive the digression. I found the film to be a failure by Zinneman - too many parts don't fit well, and too long.

I really liked this film but think that if fell very short in several things. The story is of two old adversaries who can not give up the fight and a third that is thrust into the middle of the feud. Grudges are hard enough to give up but commitment to causes that cost blood are all but impossible. That is what this movie does so well as it tells this story. The three principals, being the kind of actors they are simply did what they always did and put the stamp of their own character on the role they played. It is so easy to transpose almost any character played played by Gregory Peck or Anthony Quinn between the different movies they act in. Omar Shariff does a lot better taking on the role rather. The ending is without adequate support in my opinion and seems more meaningless than it was intended to be. Peck's character seems to want to make some grand statement but there is no real motivation for it. The boy Paco who is so important in the movie is unfinished and unredeemed. Marietto plays Paco very well and Paolo Stoppa outshines most of the others.

I watched this movie, and like most of the people have already expressed it, must say that this is truly a classic. The acting crew is excellent with Peck, Shariff and Quinn giving some very intense performances. But the surprise package is the boy who crosses over to the French part where he goes in search of Manueal to ask him to avenge his father's death at the hands of Vinollas. I often read comments that Peck is stuff or wooden on occasions, but I find him one of the most intense actors because of his ability to convey through his eyes. Like most actors, he is gifted of conveying a lot more through his eyes than his body might suggest. He conveys the frailing Manuel artigez here very well. We know that Manuel is tired and wary of the struggle he has pursued so passionately. Full credit to Peck for portraying that very effectively. Omar Shariff is also brilliant as the confused priest. Quinn is natural and we feel a certain angst against him, I do not know why. The end is excellent which again, conveys the human side of Manuel very well. All in all, an excellent movie worth watching on a calm Sunday afternoon.

Intelligent and magnificent film by the great director Fred Zinnemann . It deals with "Manuel Artíguez" (Gregory Peck), he is a popular "maqui" or partisan who after the Spanish Civil War, left the country such as hundreds of comrades to take refuge in France. Twenty years later, "Paco" , a 11 years kid , and son of his best friend passes the Spanish border to ask him for return to Spain and murder the Captain of the Civil Guard, "Viñolas" (Anthony Quinn), in revenge for the death of his father. Artíguez, a resident in the city of Pau is nowadays retired and ignores the request of the boy . But, "Pilar" (Mildred Dunnock) mother of "Artíguez" falls seriously ill, and "Viñolas" decides to prepare a trap that allows capture "Artíguez" . Although a good priest (Omar Sharif) advises Manuel that he's being double-crossed by Carlos (Raymond Pellegrin), Manuel determines to return at whatever cost. Picture inspired by the novel "Killing a mouse on Sunday" by Emeric Pressbuguer in which the personages undergo a physical wage war and ideological battle in post-Spanish Civil War . At the beginning displays frames of the documentary "Morir en Madrid," with opening montage by courtesy by Frederic Rossif. The film was shot in Franstudio, Saint-Maurice, Val-de-Marne, France and Lourdes, Hautes-Pyrénées, France . There was built a Spanish street that followed once time was terminated the shooting . Pressburger's novel was loosely based on the last raid of real-life anarchist guerrilla Antonio Sabate who was murdered in an ambush in 1959. This film is almost unknown since it was banned in Spain for its politics issues until subsequent exhibition in 1979. The movie was prohibited in Spain, which was still commanded by Generalissimo Francisco Franco (deceased in 1975), the victorious General of the Spanish Civil War . And it was scheduled to be telecast on a major American network, but was canceled at the last minute, allegedly at the behest of the Spanish government. Fortunately today we can enjoy this splendid masterpiece , a motion picture masterfully realized and played with a top-notch list of first players . The performers hand perfectly their respective characters . The "Manuel" role in his bitterness and deception is awesome , as well as the "Viñolas" in his toughness and rudeness . Furthermore , a large secondary cast formed by veterans as Mildred Dunnock and Paolo Stoppa ; and brief roles by Daniela Rocca ,Jose Luis Villalonga, Claude Berri , Michael Lonsdale, Christian Marquand and Rosalie Crutchley as the ill wife. This is an interesting and thought-provoking thriller well produced by Alexander Trauner ( also production designer) and Zinnemann . It packs tension , high intrigue , political events and is slow-moving ; however is pretty entertaining . In spite of the fact that the runtime is overlong, is neither tiring , nor dull , but thrilling . The motion picture is stunningly directed by Fred Zinnemann who had a lot of experience from his former classic films as ¨High Noon, From here to eternity, Man for all seasons ¨, among them. Rating : Very Good , better than average. In spite of being such fine movie the picture had a minor success at the box office . Rating : Above average . Essential and indispensable watching , valiant try by all.

It wasn't all hysteria. There were Communists and Communist sympathizers in the movie business. Several were involved one way and another in the making of this didactic film. This picture with its heavy political message about the backwardness and repression in Spain under Franco could never have been made in the United States although two American actors share top billing. There is some fine acting here but not by Gregory Peck. He does not make a convincing European. Nor does the brutishness of his character fit the man of integrity audiences had come to expect this great star to portray. On the other hand, the restrained performance by Anthony Quinn makes his **Guardia** captain the most complicated and interesting character in the movie. Unlike his adversary, this man has no illusions. He knows he serves a regime that rules by fear though he is outwardly courteous to everyone. A married man, the address and telephone number of his mistress are common knowledge at police headquarters. Yet he prays with apparent sincerity to the Virgin for success in the upcoming confrontation. You really wish there were more of him but he has little screen time--one of the movie's major faults. Big, handsome Christian Marquand from Marseilles, France is outstanding as Quinn's able and tactful lieutenant, and as Pilar, mother to Peck's character and an unreconstructed, anticlerical leftist, American Mildred Dunnock is remarkably convincing in a small role. Having been brought **in extremis** to the local hospital, she sends a priest who has come to her bedside away with the suggestion he "go and bless the rifles in the firing squad". The documentary footage of the pilgrimage site at Lourdes, France is a gratifying bonus, along with some impressive shots of the Pyrenees. In truth, the cinematography is first rate throughout, a Fred Zinneman trademark. The shortcomings in the film center around the screenplay. There is too much talking as many others here have remarked, the movie is tedious in places and about fifteen minutes too long. The device of having much of the action viewed through the eyes of a child simply doesn't work. Many have noted that Peck and Quinn had appeared together in the 1959 blockbuster "The Guns of Navarone". Along with composer Maurice Jarre, several actors from "Lawrence of Arabia" are reunited in this picture, also. There is Quinn, Omar Sharif as a priest facing a moral dilemma and in an odd bit of casting, Anglo-Pakistani Zia Mohyeddin. He plays a guide--the same role he had in "Lawrence" but this time he survives.

In 1939 like John Wayne's Ethan Edwards in The Searchers, Gregory Peck does not believe in surrenders. When all the others give up their weapons and go home, Peck conspicuously keeps his and keeps up the good fight. Of course twenty years later, Peck's become nothing more than a common bandit with the barest trappings of the revolutionary ardor he once had for the Republican cause in the Spanish Civil War. His rival, his Pat Garrett to Peck being Billy the Kid, is the local captain of the Guardia Civil in Anthony Quinn. Peck's constant raids into his border area from France are a source of embarrassment to him and block his chances for advancement. At one time Quinn was a hardened Falangist, but now he's just a policeman. Twenty years as made a lot of changes in both men. Quinn a devote Catholic who probably joined the fascist forces because of the anti-clerical attitudes of the Republican government now observes the form of religion, but he's got a mistress on the side. When he goes to pray it's not for anything profound, just please let him get Peck so he can advance. Peck is as anti-clerical as he was during the Spanish Civil War in the late Thirties, but now is really into it a lot for violence's sake. He also knows his cause is long lost, but needs the excuse for what he's now doing. He also gets quite a surprise in finding a priest like Omar Sharif going to warn him about an informer in his crew. Catholics do come in all shapes and sizes. Although Peck is somewhat miscast as a Spaniard, still he does a good job as does Quinn and Sharif. The strength of Behold a Pale Horse is that it presents both Peck and Quinn as flesh and blood people, neither of them all good or all evil from your point of view. Behold a Pale Horse was made in 1964 and eleven years later Francisco Franco in whose service Quinn was in died after being dictator of Spain for 36 years. When I visited Spain in 2001 the thing that struck me was how there was very little evidence of Franco's reign. Spain has now settled quite nicely into a constitutional monarchy with a functioning parliament. And the Catholic church which rode as high in Spain as it did during Philip II is rapidly losing influence. Kind of makes you wonder just what Peck and Quinn were fighting about.

I had been looking forward to this one for some time, due to its rather imposing credentials; it's certainly well-made and acted but also heavy-going, slow and excessively talky. Gregory Peck is even stiffer and glummer than usual as a washed-out guerrilla fighter; Anthony Quinn is generally more subdued than is customary for him, being effectively cast against type as Peck's nemesis (though his character is completely absent from the film's mid-section); after a belated entrance, Omar Sharif manages to steal the acting honors from under the nose of his more experienced companions by giving a moving portrayal of a conflicted priest. The excellent cast is rounded out by Paolo Stoppa, Christian Marquand, Daniela Rocca, Mildred Dunnock, Rosalie Crutchley and Michel Lonsdale. Ultimately, the film lacks the touch of greatness – but the unusual subject matter (adapted from an Emeric Pressburger novel) and the surprising but affecting child's eye view it takes of events keep one watching. Furthermore, the climactic assault on the hospital is both suspenseful and exciting and the ever-reliable Maurice Jarre contributes a subtly effective score.