The sheriff of a small town in southwest Texas must keep custody of a murderer whose brother, a powerful rancher, is trying to help him escape. After a friend is killed trying to muster support for him, he and his deputies – a disgraced drunk and a cantankerous old cripple – must find a way to hold out against the rancher’s hired guns until the marshal arrives. In the meantime, matters are complicated by the presence of a young gunslinger – and a mysterious beauty who just came in on the last stagecoach. —IMDb
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
Em RIO BRAVO, o tempo e o lugar não são tão importantes. Nem a história. Aliás, de propósito, Hawks quis fazer o filme sem história bem definida. Trata-se de um filme de personagens. John Wayne aparece, não como sujeito amargo e consumido de ódio como em RASTROS DE ÓDIO, mas como um autêntico herói hawksiano de grande coração, e que deve permanecer duro e inabalável diante das dificuldades da vida | Ailton Monteiro
If this movie had been 140 minutes of Dean Martin's broken down, alcoholic cowboy crooning sadly to himself on a cot while he smoked a cigarette, I would have given it 5-stars. As it stands, I found "Rio Bravo" to be much too leisurely paced for its own good. Dean Martin and John Wayne have such great chemistry together, it's a shame that the film's numerous comic relief characters - who aren't all that funny - eat away at their screentime together. Similarly, a shellac-haired Ricky Nelson is totally out of place in a gritty Western setting while Angie Dickinson, bless her soul, is forced to wade her way through some truly awful dialogue. "Rio Bravo's" countless 5-star ratings tell me that I'm going to give it a second viewing eventually, but on first pass I wasn't impressed like I expected to be.
Depuração máxima do cinema de Hawks, onde laços de amizade, amor e cumplicidade se estabelecem enquanto homens cumprem uma arriscada missão.Um xerife a quem, para combater o mal, só resta a ajuda de um velho manco, um bêbado inveterado e um cowboy novato. Herois desajustados que dividem tudo: Angústia da espera, bebedeiras e música, a fúria da violência e inclusive as roupas íntimas de uma mesma mulher | D.Dalpizzolo
Howard Hawks had a three year sabbatical in Europe after his 1955 epic ‘Land of the Pharaohs’ failed to do well and had to re-start his career in a sense with ‘Rio Bravo’, a film he then more of less… read review
Every time I watch it, Rio Bravo gets better and better. Not only is it one of my favorite westerns, but one of my favorite movies. There’s so much to love and admire about it, I think it’s one of… read review
I’m neither a fan of John Wayne nor Westerns but I’m trying to watch the work of noted American Directors pre-1960 so here I am. This is my first Western and I found Rio Bravo a bit wooden and lacking… read review