El Dorado

It's hard not to smile as you watch this film play itself out. There are just too many fine actors and top notch performances contained in this film for it to be anything but outstanding. Howard Hawks knows just how to harness this story and give each actor room enough to strut his stuff.

John Wayne plays a hired gun who comes to the aid of a drunken sheriff played to perfection by Robert Mitchum. By Wayne's side is a young man (James Caan) packing a nasty scatter-gun, and also at their disposal is a grizzled Indian fighter deputy (Arthur Hunnicutt). The four do battle with an evil land owner (Ed Asner), his hired gun (Christopher George), and several other gunslingers looking for trouble. A rival family of landowners named the MacDonalds are being pressured by Asner and his cronies. Wayne and Co. take their side, and all hell breaks loose in El Dorado.

The film is crisply paced, well-written, and the acting as good as you might expect. Even actors like Caan and Asner who might seem out of their element fit right in and hold their own. Wayne is as watchable as ever. It's a treat just to hear him say the word "Mississippi" every time he refers to Caan. Mitchum has the more demanding of the two lead roles, and it's no wonder Wayne wanted that role for himself. The toughest thing our heroes are faced with is sobering him up as he has become the laughing stock of the town he is supposed to protect. Arthur Hunnicutt, as Mitchum's deputy, seems to get a lot of the good lines and more than proves his worth when things get tough. Another person who stands out is Michele Carey who portrays one of the MacDonald clan. I'd never really heard of her before, but the woman is stunningly beautiful. She plays a resourceful woman out to kick some Asner butt.

Between the numerous shootouts, there are wonderful scenes where you can tell the stars are just happy to stand together in front of the camera. There are a few scenes that really weren't beaten to death by the genre and actually look original. A shootout involving church bells was something I hadn't seen before, though I'm hardly an expert in western lore. I wouldn't be surprised to find that someone had done it before, but it really worked in this film. Also, it was neat to see Caan blow some of the bad guys to shreds with his shotgun. That was an under-utilized weapon in old western films. His brief impersonation of a Chinaman is bound to offend some, but it's actually quite entertaining.

If you love a good western, you must not miss El Dorado. Even if you don't normally watch them, you might also find it more than worth your time.

9 of 10 stars.

The Hound.

This was a pretty solid western, one I enjoyed more than I thought I would. What I liked about it were the interesting characters and the fact it was nicely filmed, as westerns tend to be. People focus on the big stars of this film and often miss how good the visuals are in here.

John Wayne, Robert Mitchum and James Caan all played characters that were fun to watch. When I first saw this about 10 years ago, it was a shock to see how young Caan looked. It had to be one of his first films. Six years after this, he made it big in "The Godfather."

Wayne and Mitchum, of course, were already major motion picture celebrities and I liked the way they traded off each other in this movie. It was really good to see these two guys in the same film. With those two, and the nice photography, this would be a good pickup on DVD.

El Dorado (1966)

A brilliant movie. I hate to use an overused word, or to seem over the top here. But I really thought Howard Hawks created an arguably better version of "Rio Bravo" by doing two key things. One is using two leads who had great mature chemistry together, John Wayne and Robert Mitchum. The other is using James Caan as a more convincing and slightly less frivolous sidekick instead of Ricky Nelson in the earlier version. Many people will disagree and that's fine--my point is this is a terrific and somewhat overlooked film.

Not that the plots of the two are identical, and you might really blame the director/producer for doing a cheap attempt at a hit, without total originality. The fact is, he succeeds so well you don't mind. Everything is first rate. Even the humor as it gets more and more slapstick and out of keeping with the very serious beginnings of the film is so at ease and warm you like and want the companionship to continue. Hawks and his actors create a setting and a situation that is almost homey, against the odds. And this is in an era when the American Western is all but dead (the great Spaghetti Westerns were now coming out).

Critical to the success is the great cinematography by Harold Rosson, who filmed so many classic movies it's hard to know where to start (but start with "The Wizard of Oz" and "Singin' in the Rain"). This is his last film, and he never stops pushing boundaries. There are not only beautiful scenes in the little towns or the shots from the belltower near the end, but some innovative ones.

The big theme here is a common one in Westerns--a group of bad guys with guns is out to take something from a group of good common folk. But the solution is notable, and pushed to a limit. That is, the problem is solved through camaraderie and friendship, through trust. And by joining in the cause even if there is no reward, and even though death is not unlikely. It's a story that is oversimplified, of course, but it feels good. Where some Anthony Mann Westerns and the famous Zinnemann "High Noon" often have evil or selfish or cowardly people all around the protagonist, here there is only a sense that good will prevail, and by persistence and teamwork.

Wayne is at his best here. He's often at his best, I suppose, since he's so consistent, but this shows a strong, smart, wise character that is probably the true Wayne. He's tough and funny and believes in what is right. Period. And I think Hawks knew how to make Wayne look and act his best, and Mitchum seemed to also resonate well. For his part, Mitchum is a terrific derelict sheriff, not overacting, making it reasonable and his character sympathetic. The two have a lot of scenes together and they seem to enjoy themselves without quite breaking into grins on camera.

Finally it should be said that the story line is rich and complex. Yes it follows certain common themes and clichés, but it continually twists them up. The first twenty minutes are a harrowing ride of upturned expectations, and the plot really has its teeth sunk into misunderstandings and mistakes that take on huge ramifications. Well written, well paced dialog, well done.

One weakness in both "El Dorado" and "Rio Bravo" is the lead woman in each case, meant to be a "type" of course but in "El Dorado" coming off as weirdly modern in both sensibility and make-up. I mean cosmetics. Even more glaring is the crazy 1966 hair and eyeliner on a younger woman in the story, who is terrific overall but just seems out of place. You might say the same for Caan, too, but he plays his part with such idiosyncratic verve you accept him as a legitimate oddball.

Why not just see "Rio Bravo" instead, since it carries similar themes, and Hawks and Wayne as well, and has a superior reputation? Go ahead. "Rio Bravo" is a more serious drama, and is terrific. But if you have access to this one (and the streaming Netflix copy is superb), then I'd plunge in. Highly rated, and still underrated.

This many not be the best western ever made, but it looks like an epic and is more fun than most movies by a hoot and a holler. It's got direction by Howard Hawks, characters, and people who actually talk to each other in intelligent dialogue and have to think, all set in a beautiful Western locale. John Wayne ably plays a man who has faces several challenges, in this fine screenplay by Leigh Brackett (of "The Big Sleep" and "Rio Bravo" fame). The challenges have to do with helping his hard-drinking friend, the Sheriff played by Robert Mitchum, combating a gang of badmen headed by powerful Edward Asner, and the fact that he's been shot in the back by mistake and that the pain causes him to be unable to move at inconvenient times. The production has a fine title sung by the great Ed Ames, titles by noted western artist Olaf Weighorst (who also appears as a gunsmith),; and its technical production is truly outstanding in every department Other actors contributing to this near-masterpiece of entertaining film-making include Arthur Hunnicutt, R.G. Armstrong, Christopher George and Charlene Holt in her best screen role ever. Outstanding contributions were made by Nellie Manley and Wally Westmore on hair and makeup, Edith Head on costumes and many others. Altogether a very-satisfying, adult and physically beautiful color western; writer Brackett was asked by Wayne to include the saloon scene from "Rio Bravo" in a rewritten version, and it works just as well here; the major change is James Caan as Alan Trehearne, plus the change of cast to Mitchum, Hunnicxuut and Holt, who are all very good indeed.

An enjoyable film. It bears some striking similarities with another Howard Hawks-John Wayne western, Rio Bravo. The story is about reunion of two old friends - a sheriff and a gunfighter who helps a rancher family to fight its rival. Plot is not any unique but the fine screenplay and balanced characters makes it worthy. The chief attraction of the film remains the presence of Wayne and Mitchum. John Wayne was in his usual best. No comment about him is required when it comes a western. At first, I found Robert Mitchum out of shape but later he made sense as an alcoholic sheriff. His character gives some good laughs. Apart from that I found many characters closely resembling the ones in Rio Bravo.

Anyway, movie maintains its own identity somehow with a fine antagonist. It has a few beautiful songs and gunfights are also good. It is a well-made and entertaining western overall.