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.

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 did a whole bunch of films with Director Martin Ritt and Hombre, one lean and mean western ranks as one of the best.

Newman is John Russell, the ultimate in the Stockholm Syndrome in the western film. He's a man who was kidnapped by the Apaches as a child, raised among them, and then when he was rescued from the Apaches, turned his back on his rescuers and went back to live among them. The opening of the film has some closeup shots of Newman as an Apache and he does look like a figure of interest with those baby blue eyes of his. The viewer is already involved, this is a person of interest, there's a story here, let's find out about him.

Circumstance has put him on a coach with several other passengers, including the Indian agent at the San Carlos Reservation, Fredric March and his wife Barbara Rush. Unbeknownst to everyone else, March has embezzled a whole stash of money from the tribe and is on the run, like Berton Churchill in Stagecoach. Of course Churchill is not taking his young pretty wife along with him.

The outlaws led by Richard Boone know about the loot and they ambush the coach, but the holdup is unsuccessful. Nevertheless the passengers are left afoot with the loot, but limited water on the Arizona desert.

It falls to Newman to lead them to safety, a guy they had previously snubbed. Hombre gets deliciously ironic that way.

Next to Newman, I'd say the best performance in the film is easily that of Diane Cilento, the very wise and earthy boarding house keeper. She's one experienced with life woman who if everyone heeded it would have been better all around.

Why are they with Newman, cause he can cut it. And as a film, Hombre definitely cuts it.

A tough, sun bleached western from Martin Ritt, this is well served by fine performances and some tremendous cinematography from James Wong Howe.

John Russell (Newman) is a white man raised by the Apaches, who travels by stagecoach with a group of people whose lives aren't as simple as we first believe. Threatened by bandits, Russell unwillingly leads his fellow passengers towards safety. His moral code is sparse and unforgiving, but he is surrounded by others of a different persuasion, most notably Jessie, played by Diane Cilento. When the bandits hold a passengers wife hostage, Russell's moral code is challenged, and it's his unexpected attachment to Jessie that causes him to behave differently.

Newman and Cilento are excellent. Richard Boone is the perfect counter weight as Cicero Grimes, the principal bandit. Martin Balsam (stagecoach driver) and Frederic March (an Indian agent) make an impression too, as does Frank Silvera (Mexican bandit).

This is a vastly superior western. Superlative work from the stars and an intelligent script, added to the dusty Death Valley location work, create a tense, sparse western well worth watching.

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.