Hombre

"You'd eat dog. You'd fight for the bones too."

"You ever been hungry? I don't mean 'ready for supper' hungry. I mean when your belly swells."

"What do you expect me to take with me?" "Your life. How's that? And if you make it, we'll drink to your good luck."

"That Grimes. He think it going' to be easy. He doan brink no water, only whiskey." "Well, it's going to get a lot harder."

"I would like at least to know what his name was." "He was called John Russell."

These were all just off the top of my head not having seen the movie in over 8 years. (not counting the ones that have already been posted)

One of my favorite movies ever.

I am pleasantly surprised that there are other people out there that have seen it recently and/or remember it. Many other lines. I'll post when I watch it again.

Superbly written and acted, Hombre is one of the two or three best end-of-the-West Westerns ever made.

Based on the Elmore Leonard novel and starring Paul Newman, Hombre is the story of John Russell, a white man raised by Apaches forced by circumstances to be responsible for the lives of a group of people who despise him.

Dr. Faver: You've learned something about white people. They stick together. John Russell: They better.

Newman is sterling as Russell, whose sense of honor puts him into a no-win situation, and whose tenacity will not allow him to back off. Richard Boone was rarely better than as Cicero Grimes, who matches Russell, steely-eyed glare for steely-eyed glare. His performance here is on par with his portrayal of gang-leader John Fain in Big Jake, just a few years later.

Grimes: Well, now. Now what do you suppose hell is gonna look like? Russell: We all die. It's just a question of when.

Also outstanding are Diane Cilento, Barbara Rush, and Martin Balsam. A strong performance by character actor Frank Silvera as an unnamed Mexican bandit is one of the film's many gems.

Russell: (after wounding the Bandit)I would have done better, but I think you moved. Bandit: You can be sure I moved!

The magnificently desolate northern Arizona desert becomes an additional character in the film.

If you are looking for the ultimate tough-guy film, you need look no further than Hombre.

This film made Paul Newman my favorite male actor for decades. It affected the way I have seen every one of his roles, even his salad dressing. The story line brings John Russell's (Newman) personal strength of character and survival into sharp contrast with many of the other characters' own sense of strength, and therefore the viewers' as well. There are villains all around and innocent (and not so innocent) victims for the taking. Personal values of all kinds (racial, greed, criminal) are set up for display and comparison against Russell's simple personal strength and integrity like a painting competition at a state fair.

My most remembered quote from this film is Russell's response to Dr. Favor(the embezzler)when Favor attempts to educate Russell that white (implying civilized) people stick together and help each other out and Russell responds, "They better".

Paul Newman sure could cut it in 1967. Not only did he give the performance of the year as Cool Hand Luke, but embodied the role of action antihero in this gritty, downbeat western as the laconic part-Apache John Russell, reluctant helper of assorted, sordid white people.

Russell has been living off the land with his Apache brethren when he is left a boarding house in a will. Russell sells the boarding house, which leaves its beautiful-but-weathered caretaker Jessie (Diane Cilento) on a long stage ride with Russell and a number of others with varied reasons for wanting to leave town. Unfortunately for everyone, one of them is a particularly ornery character named Cicero Grimes (Richard Boone).

"Hombre" is a coming-out party of sorts for writer Elmore Leonard; he had works adapted for screen before, most notably "3:10 To Yuma," but "Hombre" brings out the quotability and toughness we associate with Leonard today. Credit Newman and director Martin Ritt, as well as cinematographer James Wong Howe, for giving the film the space and terse energy it needs to deliver the action without underselling the human drama. Russell doesn't want to stick his neck out for people, and you don't blame him, yet you understand why he helps them in the end.

Screenwriters Harriet Frank and Irving Ravetch provide many memorable lines. A favorite, when a thief is being robbed at gunpoint: "It looks like you did good and we did better." But there's a tendency to overexposition, of people giving their life story at a drop of a hat. Everyone except Russell, who keeps it very cool throughout. Maybe it helps Newman look better.

"Takes a lot to light a fire under you, don't it?" Jessie asks him.

The story doesn't exactly hold together well upon reflection, and there are a number of what Hitchcock called "icebox scenes." One character walks around for days after being gutshot. Another is developed at length without having anything to do with the story except dying in it. But with "icebox scenes" you don't notice the incongruities until later. You are caught up with the energy and vitality, especially when things begin to happen in the second hour.

Newman is working Eastwood/McQueen territory here, and working it quite well. An important conflict in the film pits him against Dr. Favor (Fredric March), a self-righteous Indian agent who looks down on Russell for his American Indian roots despite the fact Favor has done well off the Apaches. When Favor's jaded wife (Barbara Rush) scoffs at the Apaches for eating dogs, Russell tells her if she was as hungry as they were, "you'd eat it. You'd fight for the bones, too." Newman doesn't raise his voice, doesn't even lean forward, but his burning blues make his anger palpable.

Rush's character is especially interesting, a reflection perhaps on the classic Leonard opportunistic female, or maybe even worse. I'm still not sure what she was playing at, but I enjoyed her character enormously. With Cilento, March, and especially Boone as well, you have performances that would provide engaging centers for other films, yet Newman towers over them without resorting to histrionics or even much in the way of humor (his wisecracks are few, however well-placed.)

"Hombre" is a near-classic Western that doesn't play by classic rules. But it makes its points well, keeps you involved, and allows you to relish one of Paul Newman's most indelible roles.

Is this movie not a micro-view of society? We have a certain class structure. We have heroes and villains. We have one man, who, perhaps by virtue of his Apache affinity, is essentially "at one" with himself. He tells the person who comments that they had mistakenly believed that he was taking the money for himself, "What you think is your business." He is unaffected. He knows who he is, what he's about, and is not "on the string," dancing to the tune that others would call for him. He has his own code; his own values, and he demonstrates them -- in action -- throughout this fine film. Richard Boone is great as Grimes, and the overall cast is very good. This movie, in some ways, could be taken apart, viewed, and reviewed much the same way as Henry Fonda's "12 Angry Men." There is much to admire about this movie . . . much to admire in the character, John Russell.