Les indomptables

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.

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.

Don't let the title fool you. Apparently part of the studio's design to tempt a broader audience in to see this film, 'The Lusty Men' is just not a very good title for it. Two other titles were considered - one even worse, "This Man is Mine", and one that was better if not exciting, "Cowpoke". Briefly, this is the story of a young ranch worker (Arthur Kennedy) and his new bride (Susan Hayward) trying to save up money to buy a ranch of their own. Faded rodeo star Mitchum crosses their path and changes their lives, showing the young husband Kennedy a shortcut to big money by riding in the rodeo. There's a lot of friction resulting as time goes on, with Kennedy hooked on the easy money and attention, while Hayward fears for his safety and blames Mitchum for driving a wedge between the couple. I won't give away any of the story beyond that.

I do want to give a broader review of this movie for the type that it is. I don't think I've ever seen a seriously-made movie which depicts rodeos or bull riding that was not at least fairly compelling, as this one is. Whether it's 'The Lusty Men' or 'Eight Seconds' or 'The Ride', those who ride rodeo put their lives and safety on the line for relatively little pay in most cases. They pursue their sport with an intensity that may be hard to understand for those who live a more ordinary existence. Just as a compulsive gambler gets that little rush every time he scratches off a lottery ticket or pulls the handle on a slot machine, every time the bull or bronc rider nods his head and the chute gate swings open, he has a brief chance at success and a win and the thrill that goes with it - but he has hundreds, maybe thousands of people playing the game along with him. If he has a great ride, the crowd goes wild. If he gets bucked off, or gets hurt - maybe even killed - he has done so trying to please all those people in addition to himself.

The complexities of the motivation of the rodeo rider belie what some may feel to be a very simple or even 'dumb' pursuit. It is these motivations which create the opportunity for fascinating characters living lives that follow different rules. They live outside the box, even now as they have for decades, in pursuit of their dreams. That's why 'The Lusty Men' and the other rodeo / bull riding films I've seen have been so good. When you start with characters filled with the 'heart and try' to compete at rodeo, people who are not so bound to logic and common-sense, the storyline possibilities are nearly endless.

Things in the world of rodeo have changed since this movie was made. As one other reviewer pointed out, a rodeo rider of the past having to retrieve his winnings at a saloon after having gotten banged up riding that day would be the perfect formula for the start of a drinking problem. Fortunately, they don't get their winnings at a saloon anymore. On the other hand, the 'buckle bunnies' who pursue rodeo riders are still drawn to the lean, lanky, quietly courageous cowboy no matter whether he rode for eight seconds or got bucked off in two. He doesn't need to be a big money winner, because the cowboy's appeal has never been about money. To the contrary - his lack of wealth may be part of his appeal by making him seem more down-to-Earth and approachable, maybe even vulnerable because he is nearly broke. In this movie however, the young cowboy / rising rodeo star does attract the wrong kind of women because he has amassed some money winnings.

You don't have to be a fan of rodeo or bull riding to enjoy this movie. While it does revolve around those sports, the real story is what happens to the young couple and the old rodeo star who enters their lives.

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.