Die Draufgänger

Don't let the illfitted lurid title mislead you, this is a really good movie played serious, the kind of conventional in its arc but altogether engrossing drama old Hollywood used to make in its golden age. It may have little to offer in the way of lust but quite a lot of rodeo excitement. Robert Mitchum is worn-out bronco rider Jeff McCloud, once a rodeo legend and now a peniless drifter who drunk and gambled away the small fortune he made by falling out of horses' backs. He becomes attached to a man working as a cowhand in a nearby ranch and his lovely wife and soon convinces the man to make him as his rodeo mentor. What at first seems like quick easy money will soon prove to involve a whole lot more, from broken bones to broken marriages. This is a three-character drama that bounces off inside the triangle formed by washed-up, has-been bronco rider McCloud, the ambitious and reckless up-and-comer played by Arthur Kennedy and his wife (Susan Hayward) who desperately wants her husband off the rodeo business while he can still walk in one piece, all this seasoned for good measure with footage of bronco riding, bulldogging and what have you. Ray's direction is good, the rodeo setting provides an exotic backdrop of western Americana which should appeal to lovers of open vistas and wild landscapes and the performances are ace all around. Mitchum is at the top of his game playing the kind of character he could play with eyes closed. It was red-haired Susan Hayward who was the big revelation for me though. This was the first time I saw her in a movie but she enchants like few.

where the enemy is time and your own over-confidence and not those nasty Nazis? That MIGHT describe it The magnificently laconic Robert Mitchum turns in one of his most captivating performances in Nicholas Ray's brilliant modern day western.

Set in the down and dusty world of professional rodeo riders, it also stars Susan Hayward and Arthur Kennedy. Mitchum is Jeff McCloud, a former rodeo star, now somewhat adrift and down on his luck. He stumbles into town and quickly latches onto Wes and Louise, a married couple with aspirations of someday having a place of their own. Wes also harbors dreams of becoming a star on the rodeo circuit, a world McCloud is all too familiar with and one that Wes figures could be his ticket to a more rewarding life. It doesn't take a whole lot of encouragement on Wes' part to convince McCloud to become his mentor and before long this trio is on the road in search of those elusive cowboy dreams. Likewise it doesn't take a genius to figure out that an uncomfortable romantic triangle will emerge, sparking an unsettling and inevitable chain of events.

This is one Nicholas Ray film that rarely gets mentioned, yet it is one of the director's most emotionally satisfying works. Masterfully shot in black & white by Lee Garmes ( "NIGHTMARE ALLEY", "PORTRAIT OF JENNIE", "CAUGHT", etc) it has a beautifully lived-in look that enhances the exotic world it portrays. The performances are all sterling and the dialogue provided for them (most likely compliments of Horace McCoy, one of the most remarkably and honestly expressive writers of the period) rings remarkably true even in the midst of some overtly romanticized (it is a Nicholas Ray film, after all) moments.

The rodeo sequences are exceptionally exciting. Of course, the movie is quite atmospheric and nicely captures the lifestyle of the rodeo crowd. There are some exciting moments (like Wes riding Yo-Yo) and some great lines. ("Men... I'd like to fry 'em all in deep fat!") Highly recommended, and you don't necessarily even have to be a western fan, just a student of human nature.

One of Robert Mitchum's best films from his days at RKO is The Lusty Men about the rodeo circuit. Mitchum plays Jeff McCloud a burned out rodeo rider who spots some potential star talent in Wes Merritt. He also spots Merritt's wife and the Merritts are played by Arthur Kennedy and Susan Hayward.

Mitchum's been thrown by one too many bulls and horses and he's a burned out man. Still the allure of the circuit holds him in sway. He mentors Kennedy until they come to a parting of the ways and not just over Susan Hayward. The part is a perfect fit for Mitchum, his own footloose past made him understand the character of Jeff McCloud and bring it to life.

This was the first of two films Mitchum did with Susan Hayward. She's clearly in support of him and she knows it. Her big moment on screen is dispatching a rodeo groupie at a party who had designs on Arthur Kennedy. Her footage had to be shot first, according to Lee Server's biography of Mitchum, as Hayward had a commitment in Africa to shoot The Snows of Kilimanjaro.

Among the supporting cast Arthur Hunnicutt, one of the biggest scene stealers around, is very good as another burned out rodeo rider. Mitchum looks at him and sees that is his future. In fact in the end, so does Kennedy.

The Lusty Men is a fine depiction of rodeo life, ranking up there with the later Junior Bonner and 8 Seconds. Good entertainment all around.

Nicholas Ray had always been fascinated by the relationship between two guys,the older one and the younger one.That was the story of "rebel without a cause" and "run for cover".Even in "Johnny Guitar",there 's a subplot displaying a relationship of the same kind between Johnny(and Emma) and Turkey.

This is a cyclic movie ,beginning with a rodeo ,and ending the same way.A recurrent subject is the childhood nostalgia:Mitchum searching for his old rusty money-box in his parents house echoes Dean with his toy in the gutter in the opening scene of "rebel".Robert Mitchum , the stand-out of the film,portrays a cowboy down on his luck who meets another cowboy(Kennedy) and his wife (Hayward).He urges him to ride the rodeo,to make his dream come true:buying a ranch.

The depiction of this cruel world is devoid of leniency:we're far away from that of ,say,"Bus stop".And in this man's man's man's world,Ray does not forget the women in the shadow,who hide their fears,suffer and cry.If they made a remake ,I'm sure their parts would be passed over in silence.Women in Ray movies are strong:Crawford in "Johnny Guitar" ,Gardner in "55 days at Peking" and even young girls like Wood in "Rebel" and O'Donnell in "they live by night".

One can wonder whether this is an optimistic or a pessimistic ending.Most of Ray movies include death,but from this death,something new is born.Death is almost necessary to allow the others to go on.In "rebel',Wood and Dean reconcile with the adults who have understood Plato/Mineo's plight and near sacrifice;in" Johnny Guitar",monstrous Cambridge's shooting allows Crawford and Hayden to pick up the pieces;in "55 days at Peking",it's Gardner's sacrifice-while trying to help the children-who will lead Heston to adopt the little Chinese orphan girl.Here ,Mitchum did not die in vain: the young couple is now armed against life's harshness.

Fascinating, penetrating glimpse into the world of rodeo competitions and the often foolish lengths that men will go to prove their manhood. Superbly shot, written and acted, it's also a chance to see Robert Mitchum in top form. Criminally confident and cool, he absolutely carries the film despite exhibiting the demeanor of a man dozing in a hammock under a hot summer sun. Fed a steady diet of dead-on dialogue like "Never was a bull that couldn't be rode, Never was a cowboy that couldn't be throwed," and "Hope's a funny thing. A man can have it - even when there ain't no reason," he feasts with a wink and a smile. He and feisty Susan Hayward have great chemistry together and the movie is consistently eventful and exciting, with particularly realistic rodeo footage. (Maltin is right about the very last scene though - it does feel false.) By all means, seek it out - it's one of the most purely entertaining 1950's films I can recall.