John ‘Hombre’ Russel is a man raised by the Apaches, in an Indian colony. He lives with them, when he is informed that he has inherited a lodging-house in the city. He goes to the city and decides to trade the place per a herd. He need to move to another city and gets the stagecoach, which is being replaced by the train, in a special trip paid by Faver and his wife Audra. The stagecoach gathers seven very different passengers, and during the journey, they are robbed. With the leadership of John Russel, they escape with little water, the money that the bandits want and having them in their tail. Along their running, most of them reveal their selfish essence, showing the worst of the human race –IMDb
American film director Martin Ritt started out as a Broadway actor. Ritt’s stage role as “Gleason” in Winged Victory brought him to Hollywood for the film version, for which the studio publicity billed him, along with the rest of the male cast, by the rank he held in the Army (Private First Class Martin Ritt). A victim of the Hollywood blacklist, Ritt’s career came to a standstill in the early 1950s. He reemerged, not as an actor, but as a director for the 1956 film Edge of the City. A favorite of actor Paul Newman, Ritt directed Newman in The Long Hot Summer (1958), Paris Blues (1961), Hemingway’s Adventures of a Young Man (1962), Hud (1963), The Outrage (1964) and Hombre (1967). Other Ritt-directed films of note were Pete ‘n’ Tillie (1972), Cross Creek (1984), Murphy’s Romance (1985), and, his last film, Stanley and Iris (1990). If there doesn’t seem to be a central throughline in these films it was because Ritt steadfastly refused to be typecast as a director. One project that brought… read more
Masterful handling of small-group dialogue containing complex commentary about social issues. The pacing is brilliant; moments of conflict rise and fall along authentic episodes of character's experiencing boredom and engaging in intriguing conversation. This script is unbelievable; no excess fat, no BS tricks and manages to stay ahead of the viewer. The dialogue is expositionary at several points, but Ritt plays it poetically with cadence and the result is marvelous. A superbly directed movie and a lasting moral tale. A standoff of the mind. "Mister you got a lotta hard bark on you, walking down here like this."
Although not being the best novel written by Elmore Leonard (the cliché of the silent Indien - again-), the movie, thanks to a splendid cast, is acceptable : Newman and Cilento, for sure, but particularly Richard Boone as the most frightening brute ever seen in a western.
Quand même : la scène du départ où il fait fuir l'officier sans bouger un doigt est impressionnante ! Il a une tronche de brute incroyable, je trouve Marvin plus proche du salaud que de la brute dans Liberty Valance. Sinon d'accord avec toi, tout tourne autour du personnage de Newman. Mais je ne comprends pas le choix du bouquin : Leonard a écrit des westerns nettement meilleurs (The Bounty-Hunters, the Law at Randado etc) et celui-là n'est vraiment pas génial.