One of the finest westerns ever made, this “monumental, sweeping and powerful” masterpiece (Variety) features impassioned performances, stunning cinematography and adventure on a grand scale. Starring John Wayne, Montgomery Clift (in his screen debut), Walter Brennan, Harry Carey, Sr. and Noah Beery, Jr., Red River is a hard-hitting, action-packed adventure that captures the grandeur, majesty and danger of the wild American West. Wayne gives “one of the best performances of his career” (Cinebooks) as Tom Dunson, a self-made cattle baron who’ll do anything to protect his way of life. So when plummeting livestock values demand that he drive his herd through the treacherous Chisholm Trail, Tom proves that he’ll risk anything to reach his destination even his own sanity. —MGM
Although John Ford—his friend, contemporary, and the director arguably closest to him in terms of his talent and output—told him that it was he, and not Ford, who should have won the 1941 Best Director Academy Award (for Sergeant York (1941)), the great Hawks never won an Oscar in competition and was nominated for Best Director only that one time, despite making some of the best films in the Hollywood canon. The Academy eventually made up for the oversight in 1974 by voting him an honorary Academy Award, in the midst of a two-decade-long critical revival that has gone on for yet another two decades. To many cineastes, Howard Hawks is one of the faces of American film and would be carved on any film pantheon’s Mt. Rushmore honoring America’s greatest directors, beside his friend Ford and Orson Welles (the other great director who Ford beat out for the 1941 Oscar). It took the French “Cahiers du Cinema” critics to teach America to appreciate one of its own masters, and it was… read more
Ao lado de RASTROS DE ÓDIO, o maior faroeste da era clássica, é uma história amarga sobre uma travessia dolorosa que se transforma em obsessão, medo e ódio e que, em última instância, é uma releitura rural do eterno confronto entre o velho e o novo. Hawks conduz a produção com elegância, usando da presença bruta de J.Wayne e da vivacidade de Montgomery Clift. Uma obra que sobrevive a gerações | Alexandre Landucci
Sure the story is similar in a way to Mutiny on the Bounty and the scenes involving Tess (including the quick & underwhelming ending) are the film's weakest moments, the film is still one of the greatest westerns and one of Hawks' best. The two different actors are a sight to behold, with Wayne giving one of his best performances and Clift giving one hell of a debut role.
Gran filme western. El eterno enfrentamiento entre dos miembros de una "familia", real o ficticia, el bueno y el malo, uno joven otro anciano. A diferencia de otras películas de este género "Río rojo" no precisó de pistoletazos o amplios enfrentamientos entre los cowboys vs. indios comanches, por ejemplo. El valor de la película está en la tensión, sobre lo que podría suceder. El final, eso sí, no es el esperado.
Also: Hoberman on It’s Halftime in America and the prospects for “an Obama-inflected Hollywood cinema.”
For this year’s incarnation of the Alamo Drafthouse Rolling Roadshow, someone had the excellent idea of commissioning the artist formerly
A two-week-long Howard Hawks season launched this weekend at BFI Southbank in London and, in the Guardian, David Bromwich writes: "The best
Howard Hawks was never one to do things by halves, and after his excellent work on the aborted western ‘The Outlaw’, in the early ’40’s was usurped by it’s producer Howard Hughes and turned into a… read review
A lot of people consider this a “great” movie. It may be great in being memorable and influential but it has too many flaws for me to consider it “great” in any other way. It certainly has some great… read review