A really beautiful character film, where Western elements serve as a backdrop for a more pronounced drama of a group of people coming together for a cause, and of building relationships based on moral similitude. Besides the many mishaps in continuity, this is a true masterwork, and as far as Westerns go, sits there up with Johnny Guitar, a kindred film in its focus on people rather than action. 92/100 - Amazing.
Un classique du western qui se revoit avec une tendre nostalgie et une émotion toujours présente et vive, tourné par le grand Howard Hawks, un des plus hétéroclites et des plus brillants metteurs en scène américains de l'époque. John Wayne est vraiment sublime dans son rôle mythique du Marshall John C. Chance et Dean Martin émouvant dans sa stature d'alcoolique déçu par une femme... www.cinefiches.com
How can you not love a film which basically decides to take a few minutes' interlude so Dean Martin and Ricky Nelson can have a duet? Just a great big wonderfully fun western with one of the most casually brutal murders ever put in a motion picture, and an absolutely amazing performance by Martin.
Good, but overrated in my opinion. There is a warmth here that I admire, and the relationships between the men are handled with in such a way that it manages to straddle the line between touching and cheesy, almost falling over onto the latter's side but never quite doing it. To be honest I'm not really sure why this is considered one of the greatest westerns ever made. It is good, but not a masterpiece.
Not understanding why everyone says this movie is too long, I personally never wanted it to end. It may be the supreme example of having both style and substance, especially in the western genre. All the actors have great chemistry together, especially Brennan, Wayne, and Martin. Another winner from Hawks, easily in my top 5 director wise.
A simple little big Hawks/Wayne western as timeless it is today, featuring lot of good performances by a great cast along with some awesome fight scenes and a fine storyline that explores more on this classic western admired by John Carpenter. (Who cannot forget Martin & Nelson singing together, btw?)
There's so much humanism in this American West's classic that i've only found in John Ford's best works. I like the « fact » that Hawks let the story extended on « la durée », so the characters can be more developed. (Though i prefer the cynical's side of High Noon, sorry for Americana's folks).
I am legitimately curious why this Hawks classic is as beloved as it is. It doesn't have the most brilliant story, style, direction, etc. Things we usually point towards as hallmarks of greatness. I do think Hawks' films can be oddly philosophical at times with themes of grief, guilt, benevolence and humility. His characters always seem to be in search of redemption. It's too long, but I still enjoyed it.
"Desire list". Ricky Nelson never did anything that could compare with this film, which is a regular feature of some Hawks westerns: inhabit the unquestionable territory of the western masculinity with the presence of young "pop" lads that would shake this unquestionability. His sleazy posture contrascene wonderfully with Wayne's usual rigidity and brings a disturbing sensuality, unprecedented in those dusty cities.
This is a truly fascinating cinematic achievement. I couldn't keep my eyes off the screen for 141 minutes with the sheer fear of losing something, anything: Martin's career-defining performance, Dickinson's quasi-erotic banter, Wayne's bravado, Hawks's sophistication… 'Rio Bravo' is the crème de la crème of Westerns. 'Rio Bravo' is American Cinema.