The Film: Rio Bravo (1959)

The Principles:
Howard Hawks, John Wayne, Dean Martin, Ricky Nelson, Angie Dickens, Walter Brennan

The Premise: 
Sheriff John T Chance has locked up local outlaw Joe Burdette for murder. Joe’s brother and his gang are determined to break the baddie out of jail, and Chance is stuck defending his station with only a drunk, a crippled old man and a cocky young gunslinger.

Is It Good: 
Rio Bravo
is one of the best Howard Hawks films, which places it in the upper echelons of all films in general. A masterpiece of slowly simmering tension, Rio Bravo keeps upping the ante, making Chance’s situation seem more dire by the moment. But at the same time Hawks manages to keep things moving with humor and sweetness – while the three lawmen may be facing impossible odds, they keep things light and have an undeniable camaraderie that really encapsulates everything that men should be when hanging out together.

If there’s anything wrong with Rio Bravo it’s that the love story between John Wayne and Angie Dickinson teeters on the edge of being too much. Every time I watch the film I think it’s weird that old man Wayne gets the girl, and not the young recording star Ricky Nelson, but beyond that the story drags out a little bit too long. Hawks manages to keep it from going over the edge, but there are moments where you’ll feel the cry of ‘Alright, we get it already,’ welling up in your throat.

One thing that I love about Rio Bravo that might be offputting for modern audiences are the musical numbers. With both Dean Martin and Ricky Nelson in the movie it only makes sense to have some singing cowboy moments, and Hawks saves them for the second half, where they slightly cut the tension. Then there’s the band playing El Deguello – the song the Mexicans played at the Alamo. As arranged and played here it sounds like the calling card of the spaghetti western, just a couple of years away from dominating the genre.

Is It Worth A Look:  I don’t know why you wouldn’t own Rio Bravo. It has a great John Wayne performance – one of his more affable, lovable roles, and it also contains an iconic turn from Walter Brennan as perhaps the greatest old codger in Western history. Dean Martin is surprisingly good, despite never quite looking at home in the Old West. I can’t decide what I think of Ricky Nelson; there’s something stiff and shallow about him, but it works in the role of Colorado, so it’s hard to complain about it. Angie Dickinson, meanwhile, seems to be coming in with a whole different acting style, like she’s playing against Marlon Brando instead of big old Duke Wayne. It’s fascinating to watch their scenes together and see the collisions of new and old Hollywood.

Seeing Wayne up against  that style really helps you appreciate what he does. There’s an easy decency to him, a paternal edge that still allows him to learn lessons along the way. As an angry young man growing up in the Reagan era I hated Wayne and everything he stood for, but getting older I’ve grown to understand that even if the man’s personal politics were offbase, the general aspects of his greatest characters were right on target. He’s personally mythic in ways that no actor today could ever be; Wayne constantly towers above everyone else, subtly drawing all energy to himself.

Hawks is at the top of his game in Rio Bravo. Just watch the remarkable, wordless opening scene that establishes all the characters and situations perfectly. He also stages some remarkable action sequences, including a really fun one involving tossed sticks of dynamite. Dean Martin gets some very fun moments of gunmanship, as well.


Random Anecdotes:   For film nerds Rio Bravo is a must-own because
it’s Hawks’ answer film to High Noon. Irritated by Gary
Cooper running around town begging for help – and not getting it – Hawks
spun his own fable of America, with Wayne rebuffing all help but with
the townsfolk getting involved anyway. It’s an upbeat vision of the
American spirit, one where people stand by each other and stand up for
each other. Depending on how you look at it, Rio Bravo is either the first film in a thematic trilogy for Wayne and Hawks or it was remade twice, as El Dorado in 1967 and Rio Lobo in 1970.



Cinematic Soulmates: 
High Noon, Assault on Precinct 13

The
Tally So Far


 Positive  Negative
 Pontypool Deadgirl
 State of Play The Children
 Orphan  It’s Alive
 Grace  Friday the 13th, Part 3
 Inside  Hounddogaudition
 3000 Miles to Graceland Columbus

Day

The Last Supper  Angel

Eyes

 Things To Do In Denver
When

You’re Dead

Highlander:

The Source

 World’s Greatest Dad   The Killing Hour
(aka The Clairvoyant)
 Lady Beware   The

Neverending Story

 Pitch Black  

Battlefield
Earth

 For All Mankind Heaven’s Prisoners
 Splinter Adrenaline:

Fear The Rush


 Blessed

by Fire

The

Legend of the Lone Ranger

 Outland
The Kindred
  Top

Secret


  Beer Wars  
  The Brood  
The

Incredible Hulk 

 
Undertaking

Betty

 
 Cache  
 

Taxi
Blues

 
 

Across the
Universe

 
Lord of War
 
  Dead Heat
 
 

The Adventures of Buckaroo Banzai
Across the 8th Dimension

 
  Every Which Way But Loose
 
  The

Entity

 
  The Slammin’ Salmon
 
  Gremlins

2: The New Batch

 
Master Of The Flying Guillotine
  Against All Odds
 
  The

Last Waltz

 
  David Cross – Let America Laugh
 
  The

Vanishing

 
Tupac: Resurrection  
Daybreakers  
Rock

N’ Roll High School

 
Django