Seuls sont les indomptés

There are many things weighing in favor of this film: David Miller's direction is assured, honest, competent, and perceptive; Douglas, Matthau and Rowlands all post wonderful performances; photography is superlative; action sequences are of the highest order; and the script, especially the dialogue, by Donald Trumbo, is very good.

Unfortunately, it is built upon a questionable premise. Even the most idealistic of souls has to know that you do not commit crimes to be taken into jail to release your brother, but first you ask him if he is willing to go along with that project. Fortunately, Douglas' brother is much wiser than he and refuses to break out of jail.

Freedom-loving, idealistic Douglas has some strange quirks, not to mention a questionable military service record that includes a Purple Heart, and good civilian deeds besides beating up officers of the law. For somebody who apparently loves freedom so dearly, it is really strange that he has no idea how prison limits your freedom, especially because he had been in detention during his military service.

The film gathers momentum when Douglas is on the run and police after him, but you know that things are not going to go well. Best single aspect in the whole movie: Douglas' love for his mare, Whisky. Plaudits for the trainers who managed to get the animal to perform so convincingly in such a difficult environment, both on the mountains and in the streets.

I liked Matthau's understated performance and the way his character understands Douglas' motivations, but the law, even in 1962, did not allow cop offenders to get off so easy. Well deserved 7/10, a more credible premise would easily raise it to 9/10.

I pity those who cannot, even in a small way, identify with Douglas' character, Jack Burns in this ageless work of art. This is a self described 'lonely man,' of no use to his true love( who has married his old friend) because he cannot share his life with anyone. He acknowledges that he is of no use to anyone. Rather he is a constant threat to whatever social order he encounters. The one time he makes a commitment, to his horse no less, he loses his edge. And probably his freedom. What a wonderful movie this is.It steeps itself in the fading of the West. While much of it is seemingly allegorical, there is also a truthfulness, and a tenderness in Burns search for escape over the mountains. Someone else has commented on the similarities between Burns and Bogart's rendition of Roy Earle in HIGH SIERRA. Surely any thoughtful movie goer has experienced that rush to the mountains, that sense that time has passed you by and you are not of this place.

Lonely Are the Brave (1962) is a film about a man who's content with life on the open range. He's the last of his kind, the wandering cowboy. The problem is the open range is disappearing around him. A guy like that can't live off the land anymore because there's no land for him to live off of. Everywhere he goes the land is either owned or forbidden for him to enter. Kirk Douglas stars as the last cowboy who just can't get it into his head how much the times have changed. Especially when he tries to rescue his good friend from the local jail. This causes more trouble than he can comprehend.

What's so funny about this movie is how much of the story, scenes and situations were later used in it's quasi-remake "First Blood". The basic story line and his troubles with the law are quite similar. Walter Matthau and Gena Rowlands co-star in this awesome film about a dying way of life. I saw this film several years ago on Turner Classic Movies. It's a sad tribute to the old west.

Highly enjoyable and recommended.

P.S. Gena Rowlands looks pretty good in this picture!

Released in 1962 and directed by David Miller from a novel by Edward Abbey, "Lonely are the Brave" is a Western taking place in modern times (the early 60s, that is) starring Kirk Douglas as Jack Burns, an independent New Mexican cowhand who's a likable loner. He lands himself in jail in order to help his old friend, Paul (Michael Kane), who is doomed for the penitentiary for a couple of years; but Paul doesn't want to escape because it would add several years to his sentence if caught. So Burns breaks out on his own and is chased by Sheriff Johnson (Walter Matthau) and others (George Kennedy) with the aid of a military helicopter, etc. Will he get away? Gena Rowlands is on hand as Paul's wife.

This modern Western cogently conveys how civilization with its corresponding government and never-ending laws naturally squelches personal independence and freedom. The bigger the populace means the bigger the governing regulations, and the less the liberty. One starts to suffocate in a world of borders, fences and laws. These are human-made inventions that don't even exist. Fly over the USA and you'll see no state or county borders or city limits. They're all human-made inventions that don't exist, except in a legal sense. Burns hearkens back to an earlier era where one didn't even need an ID. He doesn't fit into the mold of the modern world. All he has is his mare, Whiskey, the clothes on his back and his basic necessities. They're all a real cowboy needs, but the cowboy was a vanishing breed circa 1961.

Director Miller wisely accentuates Gena's curvy beauty as Paul's wife, Jerri. The nature of her relationship with Burns is initially a mystery, but all is revealed before the final act and it's well done. Whether someone is married or not, it doesn't mean s/he can't love someone else who's single or married. But marriage itself is a border that cannot be lawfully crossed except by the person's spouse. The film acknowledges this and so do Burns and Jerri. They're people with feelings, but they're also wise and hence don't allow their passions to compel them to trespass marital fences.

All these items amongst others (like the quality score) make "Lonely are the Brave" a minor near-masterpiece. Unfortunately, it's flawed by some tedious stretches, like the overlong jail sequence, and unconvincing or dumb elements; for instance, the idea that Burns wouldn't know enough to make sure there weren't any cars before crossing a highway on horseback (Seriously?). It's also marred by B&W photography, which would've really come alive if shot in color. The basic plot and theme were done later by the superior "First Blood" (1982) and "The Electric Horseman" (1979) respectively.

The film runs 107 minutes and was shot in the Albuquerque, New Mexico, area.

GRADE: B+

Kirk Douglas has said often enough that Lonely Are The Brave is his favorite among the films he's done. I think of it the same way that Bette Davis says about Dark Victory that the role of Judith Traherne is 98% of me.

Like the film's Jack Burns Kirk Douglas has charted his own way through life in Hollywood the way Jack Burns does. Burns's problem is that he's a man born a century too late.

Run another of Kirk Douglas's classic westerns Man Without A Star side by side. Dempsey Rae in that film isn't too much different from Jack Burns, in fact they have opinions on certain subjects almost identical.

But the frontier that Dempsey dealt with in that film has changed, it just doesn't exist any more. But Burns won't recognize it. I'm also not so sure how much film and television have influenced 1962's Jack Burns in the way a cowboy should behave.

Kirk is returning to his home town from God knows what and meets up with Gena Rowlands who is married to his best friend Michael Kane. Kane's in jail for helping illegal immigrants cross the US/Mexican border. What to do but be a cowboy hero and bust him from jail. So Kirk gets himself in a nasty bar fight with one armed Bill Raisch and gets tossed in sheriff Walter Matthau's jail. While there Deputy George Kennedy works him over.

So when Kirk's ready to bust jail, Kane refuses to go to his surprise. But that doesn't stop Kirk who breaks loose and the chase is on.

The non-conformist part of Jack Burns certainly must have appealed to Kirk Douglas. He invests so much of himself in Burns it's hard to tell where Kirk leaves off and Burns begins. And he's one of the most appealing of all the roles Kirk Douglas has. You root for this law breaking maverick every step of the way.

Mention must also go to Walter Matthau as the wise and laconic sheriff who really does understand Douglas's mentality as no one else really does. In a lot of ways it's like the Charles Bronson classic Death Hunt where Mountie Lee Marvin truly is sorry he's on this particular job. Of course if Douglas had actually killed someone in eluding the law, Matthau's duty would have been clear.

The ending is truly an ironic one as the cowboy loses that part of him that makes him a unique American icon.

Absolutely don't miss Lonely Are The Brave when it is broadcast, especially fans of Kirk Douglas.