Monday, August 7, 2017

Late Summer Western #8: Rio Bravo **** (1959)

One of the ultimate "hangout" movies, Rio Bravo consists mostly of dialogue and brief moments of intense action. Quentin Tarantino has repeatedly cited Rio Bravo as having a substantial influence on his film education.  The influence shows in Quentin's films, with their preference for dialogue punctuated by action instead of the reverse. An unconventional Western, Rio Bravo dares to immerse movie goers in character study and nuance.

John Wayne is Sheriff John T. Chance, a seasoned officer of the law attempting to hold a dangerous man in jail, the brother of a local strong man. To help him, Chance recruits his former deputy and struggling alcoholic "Dude" (Dean Martin), a young gunfighter Colorado (Ricky Nelson), and his cranky friend Stumpy (Walter Brennan). When not attending to business, Chance flirts with Feathers (Angie Dickinson), a saloon gambler. The premise is one Hawks would revisit in two other movies El Dorado (1967) and his final picture Rio Lobo (1970).

On the Blu-Ray Commentary Track film critic Richard Schickel and director John Carpenter speak at length on the "Hawks" style. Carpenter has cited Rio Bravo as a major influence on his own films, especially his 1976 cult film Assault on Precinct 13. The premise, what modern critics would call a siege narrative, features a group of people facing overwhelming odds in a claustrophobic setting.

Carpenter praised how Hawks favored simple shots and compositions, a style that allowed the story to unfold in a naturalistic way. Schickel alluded to Rio Bravo being a response to television, a medium Hawks found to be simplistic due to its clipped narratives that favored economy over in depth story telling. Hawks also wanted to make a statement about the 1952 classic film High Noon, a film he considered to be a ludicrous study of courage.  Hawks was more concerned with how professionals handled a tense situation.

Rio Bravo feels claustrophobic, but not in a negative way. It's a breeze to spend time with these characters.  There's Leigh Brackett's pulpy dialogue, an unforegettable scene of Dean Martin and Ricky Nelson crooning "My Rifle, My Pony, and Me," and the measured tone throughout.


Rio Bravo gains resonance after repeated viewings.  Wayne carries the film with ease, while the supporting cast provides comic relief and poignancy to the story.  A film that can be appreciated on many levels: the acting and direction, it's attitude towards violence and ethics in the Old West, and its influence on subsequent filmmakers.



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