The Proud Ones

My brother gave me this movie for Christmas because he knows I love Robert Ryan. There's just something about middle-aged character actors from the "golden age" of Hollywood that appeals to me; they're so cool and tough in ways that modern actors just can't match.

And this movie did not disappoint me. Ryan is great in it. He's macho and wise but also vulnerable. There were times when I was genuinely worried that the bad guys would get the upper hand over him.

In fact, quite a lot of this movie is suspenseful. It has many unexpected twists, not only in terms of "surprise" action but also character development. The constantly evolving relationship between Ryan and Jeffrey Hunter is a particular source of interest.

Even the mandatory love interest - Virginia Mayo - gets a lot of solid character development, though she does disappear from the movie for somewhat long periods of time.

Best scene? When Ryan rips into the cowardly town council. It's simply awesome.

The Proud Ones is just that: A Western about the proud men of the Old West starring Robert Ryan and Virginia Mayo and a host of other good performers. The plot is simple: A lawman is trying to keep peace in town when the trail drovers arrive. One of them, a young cowboy with two sixguns on his hips, has a grudge against the lawman because the lawman killed his father a few years earlier in another town. Ryan, playing the lawman, takes the youth under his wings and trains him. Eventually, he comes around. But that is not the main problem. Ryan, suffering a wound, is having trouble with his eye-sight and it's effecting his work. That will pose a great problem before the movie ends.

Robert Ryan has always been a great actor. He plays the tough, hard character in nearly every film and does it as though it were as natural for him as eating dinner. And he comes through in amazing style in this Western as the lawman.

It's a really good Western with some solid Western action and, for those who are Western fans, it is one well worth viewing over and over. For the mainline theme is: How much will a man/woman do in order to retain their honor and pride? It's a question each of us have to face in life and this movie offers some good feedback about the answer.

I strongly recommend the movie to all.

Robert Ryan, Virginia Mayo, and Jeffrey Hunter star in The Proud Ones a pretty good western from 20th Century Fox. It deals with a town marshal in a town that says it wants law and order, but is more interested in the profits that being wide open can bring.

The guy who is bringing in the profits and the lawlessness is saloon owner Robert Middleton and he's got history with Ryan from other towns. Who else has history is Hunter whose father Ryan killed a gunfight. What will happen is anyone's guess.

And if that isn't enough Ryan who sustained a wound to the scalp in a gunfight in Middleton's saloon is having recurring bouts of blindness since the incident. A lot like John Wayne was having bouts of paralysis after being wounded in El Dorado. Ryan also takes his time seeking medical attention just hoping the bad guys don't find out about it and do him in.

The Proud Ones is a nicely done adult western with a good cast giving life to characters you care about. Pay attention also to a nice performance by Walter Brennan as Ryan's deputy. With his character the producers took him and his fate from Destry Rides Again.

No western action fan could possibly complain about the shootout in a stable between Ryan, Hunter and assorted miscreants. That one was taken from High Noon. One of the best staged climaxes I've ever seen in a western.

And western fans should not miss The Proud Ones.

Twentieth-Century-Fox was second only to Warner Bros. in rehashing the plot lines of its earlier films. "The Proud Ones" was made a mere four years after "Red Skies of Montana" - but the similarities between the films are only too obvious. The newer film even features the same star, Jeffrey Hunter. Not only that, "The Proud Ones" incorporates music cues that Sol Kaplan composed for "Red Skies of Montana." The story of the Cinemascope picture is bound to evoke deja vu: a young upstart seeks vengeance on an older man he believes is responsible for the death of his father. As the young man, Jeffrey Hunter deserves credit for lending credibility to a character whose actions are anything but credible. He did the same miraculous job in "Red Skies of Montana." If anyone thinks Hunter was just a pretty face, his subtle work in these films should prove he had much more to offer.

The rest of the cast in "The Proud Ones" is also excellent, helping to make this one heck of a movie. Unlike its also good predecessor, this "remake" is a western. The genre was obviously chosen to make it seem different from the original. But make no mistake, the two movies are essentially the same. Watch them both and enjoy!

This is the best of three efforts by director Webb I watched in quick succession; like WHITE FEATHER (1955), it's a Western that – as far as I'm aware – has never been shown on Italian TV (which is how I first became familiar with a good many vintage Hollywood title).

The film revolves around one of the most popular Western themes – the tough Marshall (in this case, a typically impressive Robert Ryan) taming a lawless town. A couple of unusual twists which heighten the tension considerably concern the fact that the young man (Jeffrey Hunter) he appoints as his deputy – and on whom he comes to depend due to his gradual blindness – bears him a personal grudge; on the other hand, Ryan has his own score to settle with the apparently omnipotent boss (Robert Middleton). For the record, this was the first of three films in which Ryan and Hunter would appear together: the second was the Biblical epic KING OF KINGS (1961), in which the former portrayed John The Baptist and the latter (controversially) Jesus Christ, and the last the historical Western CUSTER OF THE WEST (1967), where both only had supporting roles.

As ever, the hero's woman (Virginia Mayo) becomes embroiled in the violent proceedings – while the eminent members in town prefer to stand aside; then again, not much help is forthcoming from Ryan's own associates either: in a role he'd perfect in RIO BRAVO (1959), Walter Brennan is the cantankerous jailer who all he seems to do is read the newspaper – whereas Arthur O'Connell brings up his wife's imminent motherhood to be excused from the inevitable showdown. The numerous shoot-outs (in a saloon, on the street at night and an all-out gunfight in a barn) denote obvious highlights; however, also notable is a town-council sequence which ends with Ryan's hardboiled comment to his peers: "If I were you, I couldn't look into a mirror without vomiting!" The evocative score by Lionel Newman includes a whistling motif which effectively comes in at particularly revealing moments in the narrative. In the long run, the film proves an underrated entry to emerge from the genre during its most prolific and mature era.