Hawks consistently elucidating the varying manners in which people can love one another and exactly what that love does to/for individuals. To what depths will one go to achieve a dream? How does one really begin to operate within the parameters of a certain kind of love whilst simultaneously attempting to find that dream?
Man enough to be a cow-boy? The great manly adventure: 13 years after LLOYD's Bounty, HAWKS revisits in Texas the theme of mutiny. Too bad the dark character of WAYNE was sweetened by a Hollywood ending. Assez homme pour être un cow-boy? La grande aventure virile: 13 ans après le Bounty de LLOYD, HAWKS revisite au Texas le thème de la mutinerie. Dommage que le sombre personnage de WAYNE fut édulcoré par un happy end
Ok so I don't like the ending either but that don't take away the classic from this certified classic. Would not mind a artsy fartsy remake, The old western themes of the story could really be turned on its head. Anywho, Wayne is rarely better, Monty is Monty, and the whole story, as alluded to earlier, hits all the classic western themes perfectly. Genuinely thrilling action packed film. Hawks is Great.
There's a lot to like about this Western that posits the question, what if Starbuck had mutinied against Ahab instead of just thinking about it (is it coincidence that the film starts the same year that Moby Dick was published? Probably, but whatever). Still, it's not the masterpiece that is Hawks' later collaboration with Wayne: Rio Bravo.
There's something pure about everything in this movie: the way characters are introduced, the plot, the dialogue, even the love story that everyone complains about. There's a poetic sense of adventure and wonder that surpasses the typical tropes and conquest of the open range. Red River has a balanced look at individuals within a group - a true Western. Just one cattle in the heard... to market.
Cinematography by Russell Harlan. "Desire" list: I do not like the male impassivity of Wayne, but i greatly like the evanescent confidence of Clift and, in this film, his immense beauty - that would be quickly lost in a car accident, giving him the tremor that Duras liked so much. With holster and guns, his masculinity learning is always ethereal enough to distrust how much Hawks had fun with it.
Hawks dirige uno dei western più famosi e belli di sempre, non a caso l'immenso John Ford lo descriveva spesso come suo "rivale". Una pellicola cruda, con un John Wayne più in forma che mai e un Montgomery Clift che lascia intravedere tutte le sue future potenzialità. 4,5* più che meritate.
Classic western and all american classic that marked the first teaming of Hawks and Wayne. Clift gave a star making performance but its the wise and compact script by Chase and Schnee that truly sings along with masterful direction by Hawks. The film wisely gives the audience some credit and provides layers of undertones and meaning for us to comprehend and think about. On top of that the pacing is very exciting.
A really crucial film vis-a-vis recasting a star's accepted heroic persona into something cranky and potentially destructive (see also: Ray's treatment of Bogart in "In A Lonely Place"). Wayne here is touched by the very failings and hatreds that would provide the impetus for his heroic stature in so many Ford films. No "Red River", no "The Searchers" ...?