"Blue" seems to be a western that was made with the intention to mix elements of Hollywood westerns at the time with elements from Italian westerns made at the same time. With two sensibilities aimed at, it's probably no surprise that the end results are kind of uneven. Terence Stamp's character seems to have been concocted as some kind of silent spaghetti western individual, but he is so silent and aloof that it's hard to figure out what is going on in this cowboy's head. The problem is made worse by the pacing of the movie, which is really slow and didn't have to be stretched out to almost two hours in length. And there are some plot details that seem unfinished, like the romance that is brewed up between Blue and the daughter of the man who brings him in. Still, there are some good moments here and there, the photography of the movie is magnificent, and I have to admit that the movie has some sort of hypnotising spell that's hard to explain. As I indicated earlier, this movie is kind of mixed bag, so I think it's best reserved for western fans who are patient and are willing to put up with some flaws.

Maimed by melodrama yet iconic in imagery. Strange and evocative. With Brit, Terence Stamp playing "Blue" or "Azule" depending on which side of the American/ Mexican border you're on, the film surprises and I find myself watching it again. Certain scenes register effectively and haunt such as Azule's impromptu execution of a captain. Mounted on his steed, Azule simply scoops up the officer, performs the deed and follows with a ritual of circling the victim after words. The poignant ruthlessness of this act silences even hardened men. Stamp does this with such ease and 'style' that it leaves an impression that continues to shock. All humour stops in that instant. There is something iconic here that traumatizes and replays itself - leaving a silent and remote character that is truly formidable. The others fear him and Stamp's gun play is impressive, especially in it's relish. Conflict and violence give him pleasure and the action is good. Cultures collide and this results in the film's indelible imagery. The look of the ragtag bandit bunch contrasts well with the Sunday best of the homesteaders who inhabit this film. The hunt and chase scene through cornfields is quiet vivid, realistic and leaves a crisp impression. Great photography throughout. The fabulous stunt riding that belies the wild flamboyance and daring of these bandits is very apt indeed. So well done and enjoyable to watch. Crazy good. Azule's apparent transformation to gentleman is fun as the mystery man charms the ladies at an evening social and caps a challenge from his antagonist with a classic line - "I'm tired Mr. Parker...particularly of you" before retiring. A class act. However,there is rage within.This film's budget should have demanded more accent coaching for Mr. Stamp but his performance is still appealing. Stamp seems to use any awkwardness to dramatic effect and to his advantage proving he is one terrific actor. Joanna Pettet although truly beautiful is lacking. Maybe she lacked that femme fatal or something to warrant betrayal and the tragedy which follows.A tale of loyalty, love and betrayal by an already torn man. Well worth watching over despite it's defects and the action is good.

Although it has been castigated by the critics, this movie still has a lot going for it and is definitely worth seeing. Given a big budget for its time, it has outstanding photography, beautiful scenic vistas, a very good music score and great stunt work by the legendary Yakima Cannutt. It also has Terence Stamp, who is always worth watching, no matter what he does (if we skip Priscilla, Queen of the Desert). Yes, it is not hard to tell that he is an Englishman playing an American raised by Mexicans, but his lines are few and far between, and who cares anyway? If we can have Englishmen and Australians playing Roman gladiators without critical comment, let's give this one a break. I admit that, although the plot line intended to contrast a violent past with the power of love, a complete lack of tenderness in the love scenes was laughable. But overall, this movie beats most of John Wayne's westerns by a mile.

Terence Stamp is an actor of some range, but that range doesn't extend to playing naturalized Mexicans. His extreme unsuitability for his role is apparent as soon as he speaks: his first words - "I'll do that" - are delivered in what appears to be thick cockney; a little later his delivery has a Devon burr. Only when Blue gave an account of his upbringing did I realised he was meant to be American. The mystery is why, having kept their leading man silent for the first forty-five minutes, the film-makers should have allowed him to speak at all.