Un dollaro di onore

I had to comment on this as the only other comment said it was too long and too dull. I recorded it for my father, who is a western fan, and watched it with him and my wife.

The movie has charismatic performances from Wayne and especially Walter Brennan as the old deputy. He made us laugh out loud several times. True it isn't all action, but more about characters. Ricky Nelson did okay, no Oscars here but a competent enough piece of acting as a young, brash cowboy.

Angie Dickinson plays the love interest and boy was she gorgeous in those days! OK so the Duke was cracking on a bit for the young and lovely Angie to fall in love with him, but there wasn't much else in the town to fancy and some women like older men!

Very enjoyable Western. I gave it 8/10.

This is one of the great Westerns of all-time. Hawks at his best, as are John Wayne and Walter Brennan. Dean Martin has the chops and we get a little music, too. The script is slightly better than 'El Dorado' and it comes together in a perfect blend of action, drama and entertainment. It's just a classic.

The story itself is a composite of all the elements needed to make a great Western: good guys in white hats, bad guys in black hats, townspeople content to stand aside and to let the battle be fought between the outlaws and the man with the tin star, a beautiful woman to distract the hero and finally help him when the chips are down.

The main stars, John Wayne, Dean Martin, and Angie Dickinson all turn in the top-notch performances one would expect from them, and Rick Nelson is a very pleasant surprise as Colorado. It's two others that separate this movie from other Westerns, though.

Pedro Gonzales-Gonzales, as Carlos the hotel-keeper, is a breath of fresh air. His interplay with John Wayne's John T. Chance adds a touch of human reality to the movie that sets it apart.

Walter Brennan in his role as Stumpy, however, is the glue that holds the whole thing together and makes it work. His constant griping under his breath, his goading of Wayne, his dialogue with the prisoner and his general comic relief set Rio Bravo apart from any other Western and put it in a class of its own. Keenan Wynn in Eldorado doesn't even come close.

When Joe Burdette (Claude Akins) murders a man on a whim, Sheriff John T. Chance (John Wayne) arrests him and puts him in small Texas town's jail. The problem is that the U.S. Marshall is a week away from taking Burdette off his hands, and Burdette's brother, Nathan (John Russell), won't see his brother put away. Complicating the situation even further, Burdette is rich enough to hire a score of thugs, and the only support that Chance has is from a drunk, Dude (Dean Martin), and an elderly crippled man, Stumpy (Walter Brennan).

Rio Bravo is a sprawling pressure cooker. For anyone not used to the pacing of older films, this is not the best place to begin. Uninitiated audiences are likely to find it boring--the plot is relatively simple, and they would likely have a difficult time remaining with Rio Bravo for its 2 hour and 21 minute running time. It's best to wait until one is acclimated to this kind of pacing, so as not to spoil the experience. The film is well worth it.

John Wayne was an enthralling paradox, and maybe no film better demonstrates why than Rio Bravo. He had almost delicate "pretty boy" looks and a graceful gait that were an odd contrast to his hulking height and status as the "action hero" of his day. He speaks little, and doesn't need to, although he is the star and thus the center of attention. He tends to have an odd smirk on his face. Wayne's performance here interestingly parallels the pacing and tenor of the film--that's not something that one sees very often, or at least it's not something that's very easy to make conspicuous.

And he's not the only charismatic cast member. Dean Martin, Ricky Nelson, Walter Brennan and Angie Dickinson are equally captivating. Even when the full blow-out action sequence begins (and that's not until about two hours into the film, although there are a few great shorter action scenes before that), the focus here is still on the interrelationships between these characters, with Brennan the continually funny comic foil, Nelson the suave, skilled youngster, Martin the complex and troubled but likable complement to Wayne, and Dickinson as the sexy, forward and clever love interest.

Director Howard Hawks seems to do everything right. He guides cinematographer Russell Harlan in capturing subtly beautiful scenery--like the mountains in the distance over the tops of some buildings, and a great sunrise shot--and asks for an atmospheric score (such as the repeated playing of Malaguena by a band in the background) that shows that plot points weren't the only element of the film that influenced John Carpenter (who partially based his Assault on Precinct 13 (1976) on this film). But most intriguing is probably Hawks' staging/blocking. You could easily make a study of just that aspect of the film. The characters are always placed in interesting places in the frame, and they're constantly moving in interesting ways throughout the small collection of buildings and streets that make up the town. There is almost a kind of performance art aspect to it. Wayne, for instance, repeatedly touches base at the jail, then picks up his rifle, circles around to the hotel and back, almost as if he's doing some kind of western Tai Chi.

Rio Bravo is nothing if not understated, and as such, it may take some adjustments from modern, especially younger, viewers. But it's a gem of a film, and worth watching and studying.

Howard Hawks initially wanted to reunite John Wayne and Montgomery Clift who had worked so well together in Red River in his second film with Wayne. Clift however was at the beginning of the slide that would ultimately destroy him in seven years and said no. It was then that Dean Martin was cast as John Wayne's alcoholic deputy.

By the way if Clift had done the part it would have reunited him with Walter Brennan also who is playing a very similar part to the one he did in Red River in relation to Wayne.

In the wordless beginning of Rio Bravo, Wayne while going into the town saloon to fetch Dino, witnesses a cold blooded killing perpetrated by Claude Akins. Akins is the no good brother of rich rancher John Russell who keeps trying to spring Akins from Wayne's jail. He also brings in some hired guns who bottle the town up.

Both Howard Hawks and John Wayne absolutely hated High Noon and made Rio Bravo as their answer to it. This sheriff doesn't go around begging for help from the townspeople he's sworn to protect. He's supposed to be good enough to handle the job himself with some help from only a few good men.

Dean Martin said that the Rio Bravo role for him was one of the most difficult. At that time he was playing a drunk on stage and was not yet into the substance abuse problems that beset him later on. But turns in a stellar performance.

This film marked the farewell feature film performance of Ward Bond who took some time from his Wagon Train TV series to play the small role of a Wayne friend who offers to help and gets killed for his trouble. Fitting it should be in the starring film of his best friend John Wayne.

The only bad note in Rio Bravo is that of Ricky Nelson who is too much the nice kid from Ozzie and Harriet to suggest being a young gun. But Rio Bravo marked the first of many films Wayne used a current teenage idol to insure box office. Later on Frankie Avalon, Fabian, Bobby Vinton all the way down to Ron Howard in The Shootist brought a younger audience in for the Duke.

James Caan who played the Ricky Nelson part in El Dorado was much superior to Nelson. Then again, Caan is an actor. But I will say that Dean and Ricky sung real pretty.

When you hear Dean singing My Rifle, Pony, and Me in the jailhouse, you might recognize the same melody from Red River as Settle Down. Dimitri Tiomkin wrote it and Dean recorded it as well as the title song for Capitol records. At Capitol Dino did mostly ersatz Italian ballads, it was what he was identified with. When he switched to Reprise, Dino started doing far more country and western and it really starts with the songs he did in Rio Bravo.

Rio Bravo is a leisurely paced western, probably one of the slowest John Wayne ever did. But Howard Hawks created some characters and a story that hold the interest through out.