Rio Bravo (Blu-ray)

The number of Westerns that Hollywood has made is mind boggling. I hate to think how many there have been. And, Westerns have suffered because of that. Just about everything you could do in a Western has been done over and over again, of course with variations, but I guess you could say that there's nothing new under the desert sun. So, to be considered one of the very best Westerns ever made is quite a compliment. But what is it that makes this Western truly special. There's nothing new here. Just about every thing in this film had been done in some other Western. But here, all those various elements come together in one film. The sheriff in trouble; nothing new. A boozy cowboy; nothing new. A hot shot young gunfighter' nothing new. A Gabby Hayes like sidekick; certainly nothing new. A seemingly floozy woman gambler; nothing new. A bully who thinks he can control everything and everyone; nothing new. A bully; nothing new. A shootout; nothing new. Ac crusader; nothing new there. And, most importantly, the camaraderie; nothing new there, either. Most Westerns are lucky to have a few such elements, but in "Rio Bravo", all those elements and many others come together perfectly. The opening scenes of the film are considered by many to be brilliant. NO DIALOG as the drunk (Dean Martin) walks into a saloon, and is seemingly offered a drink by the bully (Claude Akins), who throws a coin into a spittoon. The drunk is beginning to reach into the spittoon when it is kicked away by a towering man (John Wayne). The drunk reacts by clobbering the sheriff with a piece of firewood. The bully laughs, and is in turn attacked by the drunk. The drunk is beaten. A bystander steps in and is hot to death. The bleeding sheriff follows the bully to another saloon. Nearly 4 minutes later, finally some dialog. But that opening sequence sets the stage (so to speak) for all that is to come. A second brilliant set of scenes takes place again in a saloon after Ward Bond's character is shot to death. The assassin apparently runs into the saloon, but then disappears. Dude (Dean) wants to go in the front door for a change, so Change (Wayne) goes in the back. But no bad guy. Dude orders a drink, and then just a few drops of blood drips down from the loft above into a mug of beer. Absolutely fantastic scene. When it comes right down to it, the pivotal character in this film is Dude, played by Dean Martin. Almost everything in the film revolves around the drunk's redemption. Even Wayne once noted it. Dean's character here, however, isn't just a drunk. He coming off of a drunk and having withdrawal symptoms. A commendable performance, and an indication of what Dean was capable of...when he summoned up his ambition to really act. Another strength here is a strong supporting cast. Ricky Nelson does quite well in a very laid-back role as a sharpshooter. Angie Dickinson -- never one of my favorites -- does nicely here as slightly disreputable woman who ends up with...well, you know. And, by the way, John Wayne was often rather clumsy in romantic scenes, but here he plays well off of Angie Dickinson. And of course, special commendation to Walter Brennan -- always great -- for one of his very best film performances. And there's also Ward Bond, a character actor that I have always felt was highly underrated. For comic relief there's Pedro Gonzalez-Gonzalez as the hotel keeper. Gonzalez-Gonzalez made an interesting splash in show business about this time -- first noticed for a visit to Groucho Marx's "You Bet Your Life". Some have made much about the "singing segment". As illogical as it is, it works. Dean's performance of "My Rifle, My Pony, And Me" is one of Dean's finest vocal performances. And, it advances the story. Of course, there's got to be real shootout, and the shoot out in "Rio Bravo" is a humdinger and rather unique. Dude is kidnapped after a foiled jailbreak, add in dynamite at an old warehouse, mix in Wayne, Deal, and Nelson, and you've the recipe for an explosive...yet fun...conclusion. And then there's the concluding scene..,implying that Wayne and Feathers are having sex...but it's done in a clever and humorous way. A perfect picture? Well, no, but then again how many films are...probably none. I can't find anything here to criticize, but lots to praise. Well, actually I do have one criticism, but it's not about the film. It's about the Blu-Ray disc from Warner Brothers. It's not up to what we have come to expect from Blu-Ray. That's not to say it's a bad print, but it's also not top-notch.

Love these old Westerns. I wish they would make westerns like this today. Most of today's Westerns seem to be kind of dark and demonic in nature. Not that these westerns don't have a little darkness to them, but it's more black and white, good vs evil, where the others today are almost like mostly good vs evil or evil vs evil. Buy these old western if you want some more black and white good vs evil, and like John Wayne, great shows. Best Blessings. Keith

what a wonderful movie. Chemistry between Dean Martin and John Wayne is obvious. This may be Deans' first film and he was great at it!

And "El Dorado"!!

RIO BRAVO [1959] [Blu-ray] Arguably Howard Hawks’ Greatest Film! Beautifully Acted, Wonderfully Observed and Scripted with Enormous Wit and Generosity! On one side is an army of gunmen dead-set on springing a murderous cohort from jail. On the other are Sheriff John T. Chance [John Wayne] and two deputies: a recovering drunkard and a crippled codger. Also in their ragtag ranks are a trigger-happy youth and a woman with a past and her eye on Sheriff John T. Chance. Director Howard Hawks lifted the Western to new heights with ‘Red River.’ Capturing the legendary West with a stellar cast in peak form, he does it again here. Cast: John Wayne, Dean Martin, Rick Nelson, Angie Dickinson, Walter Brennan, Ward Bond, John Russell, Pedro Gonzalez-Gonzalez, Estelita Rodriguez, Claude Akins and Malcolm Atterbury Director: Howard Hawks Producer: Howard Hawks Screenplay: Jules Furthman and Leigh Brackett. Based on the novel "Rio Bravo" by B. H. McCampbell Composer: Dimitri Tiomkin Cinematography: Russell Harlan Video Resolution: 1080p Aspect Ratio: 1.85:1 Audio: English: 1.0 DTS-HD Master Audio Mono, English: 2.0 Dolby Digital Stereo, French: 1.0 Dolby Digital Mono, German: 1.0 Dolby Digital Mono, Italian: 1.0 Dolby Digital Mono and Spanish [Castilian]: 1.0 Dolby Digital Mono Subtitles: English SDH, French, German, Italian, Spanish [Castilian], Dutch, Korean, Spanish [Latin], Portuguese, Danish, Finish, Norwegian and Swedish Running Time: 141 minutes Region: Region A/1 Number of discs: 1 Studio: Warner Home Video Andrew’s Blu-ray Review: In traditional Western storytelling, lone sheriffs have faced off against rowdy outlaws and emerged victorious countless times, but never with as much exhilarating craftsmanship, narrative and stylistic economy, or sheer escapist delight as in Howard Hawks' Rio Bravo. The picture is a celebration of several cinematic traditions at once. At the forefront resides a prescribed Western yarn in Hollywood terms, a familiar set-up about a singular lawman taming the Old West, complete with shootouts, treacherous villains, and even twangy songs. Going further, the exceptional treatment represents a culmination of both Howard Hawks themes and techniques, as well as the indomitable screen presence of John Wayne's heroic, yet understatedly complex stature. At the same time, Howard Hawks and John Wayne provide an antidote to the traditional Western archetype by creating an impossible, exceptionally tense situation wherein the lone hero must reluctantly accept help from others, a support system in the form of a mismatched posse, to overcome an impossibly grim opposition. From start to finish, rich, intricate characters populate a fast-paced and flawlessly constructed motion picture, perhaps the most enjoyable and satisfyingly of its genre. ‘Rio Bravo’ [1959] is a Western directed by Howard Hawks and starring John Wayne, Dean Martin and Ricky Nelson. Howard Hawks was the king of banter and his films crackle with it and ‘Rio Bravo’ is the best of them all. It's nominally a western, but it's really about a group of friends who call each other names, put each other down, and generally delight in their relationships. They all have nicknames. John Wayne's risk-taking Sheriff is called Sheriff John T. Chance. Then there's his lame pal Stumpy [Walter Brennan] and drunken deputy Dude [Dean Martin], also known as Borachón (Spanish for "drunk"). They get holed up in a confrontation with an evil rancher, who has endless heavies at his command. "A lame-legged old man and a drunk – that's all you got?" someone asks Wayne. "That's what I got," he corrects them laconically. In Howard Hawks’s world, all a man needs is his gang of mates, however dysfunctional they may be. Fortunately, the gang is rounded out by a sparky girl named Feathers [Angie Dickinson] and sharp youngster Colorado [Ricky Nelson], who conspires to outwit the baddies with a flowerpot. Angie Dickinson also runs romantic rings around John Wayne, making this icon of Hollywood machismo look like a bumbling fool. That was the kind of fun Howard Hawks loved to have with his stars; he made Cary Grant wear drag for most of ‘I Was a Male War Bride.’ Howard Hawks said he liked "three-cushion dialogue," in which no one says what they mean. ‘Rio Bravo’ is full of it, yet some of its most eloquent moments are silent. Dean Martin's recovery from alcoholism is shown not through speeches but through his struggles to roll a cigarette; and we know John Wayne loves him because he's always ready to give him his own. That's the kind of detail that makes this film. It's warm, human and absolutely essential, even 45 years on. The only thing Dean Martin really had a problem with was a scene in which he had to cry. The idea of pretending to cry totally unnerved him but he eventually got it right. He also got along great with the cast and crew, even if his joke telling sometimes held up production or he was hung over for most of the shoot. Dean Martin and John Wayne also played mischievous older brothers to Ricky Nelson on the set, presenting him with a 300-pound sack of steer manure for his eighteenth birthday and then tossing him into the centre of it. Over the course of ‘Rio Bravo’ we are treated to an entertainment masterclass, a high watermark of Hollywood cinema in its heyday. I may not go as far as Quentin Tarantino, who declared that he would show the film to any new girlfriend and end the relationship if she did not declare her undying love for Howard Hawks’ classic, but it is the film I return to again and again, to revisit old friends and remind myself what form optimism takes in a work of art. ‘Rio Bravo’ was filmed in Old Tucson Studios, the same Arizona movie set where ‘Gunfight at the O.K. Corral’ [1957] was filmed. Cinematographer Russell Harlan modelled the look of the film on the frontier paintings of Charles M. Russell. Filming outdoors was often a chore due to the 120-degree heat and an invasion of grasshoppers that fried on the hot lights and littered the sets. Blu-ray Video Quality – ‘Rio Bravo’ appears in a respectable aspect ratio of 1.85:1 on this Blu-ray Disc. The film comes with a pretty average 1080p transfer. I must admit that the image looked worse than I had come to expect based on current standards. Grain could be a little bit heavy, and I noticed a mix of specks and marks through the film. Sharpness also demonstrated some issues. Definition usually seemed fine, but the shots could turn somewhat soft at times. The colour rendition was fine. Blacks were appropriately dark and dense, while shadows showed nice definition. But despite this, the transfer was acceptable and I enjoyed it immensely. Blu-ray Video Quality – 1.0 DTS-HD Master Audio monaural audio of ‘Rio Bravo’ appeared fine for a more than a 50-year-old film. Speech could be a little thin at times, but the lines showed reasonable warmth and never suffered from any other form of defects. Music lacked great dimensionality as well, but the score showed acceptable clarity and definition. Effects came along the same lines, as they were clean and without distortion but they failed to present much range. Some light background noise cropped up at times, but this was a competent track for again the age of the film. Blu-ray Special Features and Extras: Audio Commentary: Commentary by Richard Schickel and John Carpenter: Here we first get introduced to the Howard hawks film by Richard Schickel, who greatly admired the Western ‘Rio Bravo’ and mentions that prior to 1959, Howard Hawks had been absent from America, because he had been living in Europe for about 4 years and also mentions that when Howard Hawks returned to America, he found a great deal of change and the dominance of Television, compared to the Cinema. Now enters John Carpenter, who introduces himself to us viewers and also informs us that ‘Rio Bravo’ is one of his all-time favourite films and that Howard Hawks is also of his all-time favourite directors. They both comment the moment Dean Martin walks into the bar at the start of the film and it is basically a homage to the silent film genre and presentation that Howard Hawks was a great admirer of the silent cinema. They also mention that Howard Hawks was a big fan of the 1.85:1 aspect ratio. Both of the commentators mention that Dean Martin was curious choice for the film, but at the time of the film is when he parted company with Jerry Lewis, because he wanted to branch out on his own career. They talk about the actor Walter Brennan and what a great character actor he is and has appeared in loads of Cowboy Films, but sadly had a tragic accident and lost all of his teeth and had two moulds done of his teeth, but had an outlook that was either teeth in or teeth out, where ever he was, especially when being respectable and in ‘Rio Bravo’ he asked Howard Hawks whether it was teeth in or out and Howard Hawks said he wanted the old toothless cranky fussy old character, so it was teeth out. We also get to hear how the famous Howard Hawks had a clever use of overlapping dialogue, which he enjoyed immensely. Another interesting fact we hear about is that Howard Hawks loved the location of Old Tucson Studios and made two more subsequent movies there, with the help of Leigh Brackett, who was his favourite screenwriter, who had written enough screenplay left over to make another Cowboy movie, that sadly was less successful. The first time Leigh Brackett met Howard Hawks, Howard was totally shocked to find out Leigh was a female. Her claim to fame was with her last screenplay that was for George Lucas and ‘The Empire Strike Back’ film and was release posumately around the time Leigh Brackett passed away at the age of 65 years of age in 1980. We find in part the reason Ricky nelson got the part in the film, is because his father Ozzie Nelson was a good friend of Howard Hawks, who was aware of Ricky Nelson being a teeny bopper singing artist. The film ‘Rio Bravo’ by all account was a very extremely amicable shoot, where everyone got along very nicely, despite the age factor and experience of some of the actors and shows why the film turned out a great success. Sometimes Howard Hawks would let the actors adlib their lines on set, often at times they would come in the morning and rehearse the scene and they would do a thing called “going to the table,” where Howard Hawks would tap a big pad of paper and actors would sit around the table and learning their lines and adding nuisances, then Howard Hawks would write everything down and get it typed up over lunch and then they would shoot the scene in the afternoon and Howard hawks felt this was a very humane way of working. As we get near to the end of the climatic finish, which both commentators say is truly glorious, funny and exciting, especially as the main group of actors come together to be reunited and doing what Howard Hawks calls “fun,” and Howard hawks would always choreography these types of ending of his films, especially where the actors are specifically positioned, to the point of great simplicity, which was always overlooked by people, because his visuals do not call attention to themselves. We are told people reported that John Wayne was very uncomfortable doing the love scenes with Angie Dickinson. Richard Schickel and John Carpenter comment that ‘Rio Bravo’ is a movie that is filled with fun, it is filled with humour and characters that are fun and is truly old fashioned filmmaking and it borrows from the 1930s and 1940s, but in colour in the 1950s. It has action; in fact it has got it all, and one of the greatest Western of all time. Again we get more comments that there is something about this film, in the sense it reflects what was best about Hollywood, especially when it makes it a Hollywood movie and was extremely popular when it was released and I is still very popular today. John Carpenter says at the end, “I hope you have enjoyed viewing this film like we have and see you at the movies.” Well I second that as this audio commentary has been really enjoyable experience, especially hearing the comments in this audio commentary from Richard Schickel and John Carpenter and I can tell you it is well worth listen to two people who know about this film and Western genre, who gave the impression they had a blast doing the audio commentary and so did I. Special Feature Documentary: Commemoration: Howard Hawks ‘Rio Bravo’ [2007] [1080p] [1.85:1] 33:22] We find out from this Special Feature Documentary that we find out that this is considered Howard Hawks' "most personal film" and also his "most influential." This brief look at the film's development more than adequately covers why it is of all the great Westerns, this one "has everything." What is interesting to me is that before making this ‘Rio Bravo’ Howard Hawks looked at television and saw that the appeal of TV was the characters and the actors, and not the plot. And this is absolutely true, although television has become more long-form, it used to be a very character-driven with 30 minutes episodes each week. I also like how the film was a response to ‘High Noon,’ which Howard Hawks felt violated an ethical principle by having non-gunfighters be recruited to defend the town. Contributors to this very nice documentary are as follows: Peter Bogdanovich [Director]; Walter Hill [Director]; John Carpenter [Director]; Jonathan Kuntz and Stephen Mamber [UCLA Department and of Film and Television]; Angie Dickinson [Actress/Feathers]; James D’Arc [Curator of Howard hawks Papers at Brigham Young University in Utah]. Special Feature Documentary: Old Tucson: Where the Legends Walked [2007] [1080p] [1.85:1] [8:34] With his special documentary we get a personal look at the backstage tour of the Old Tucson Studios in Arizona where the film was shot. This mocked-up frontier town, which was also the setting for other classic westerns like ‘Winchester '73’ and ‘The Gunfight At The OK Corral,’ and today serves as an Old West theme park. Brimming with nostalgia and graced with that rare Howard Hawks interview, this great for you cinephiles out there. Contributors to this very nice documentary are as follows: Jonathan Kuntz [UCLA Department and of Film and Television]; Dan Schneider [Tour Guide for Old Tucson Studios]; Rob Shelton [Former owner of Old Tucson Studios] and Mark Kadow [Entertainment Manger of Old Tucson Studios]. Theatrical Trailer [1959] [480i] [4:3] 2:45] Even though it is the original trailer, it looks like it was specially made to be broadcast on American Television at the time of the release. Finally, personally I am not a massive fan of Westerns most of the time, but there are certain classic Westerns I like very much, and one of them of course is 'Rio Bravo' and always have an enjoyable ride viewing it, and one that holds up very well almost fifty years on. ‘Rio Bravo’ is a very good film, though it’s stark black-and-white view of the world is slightly dated now. It is the ultimate legitimate classic of its genre, particularly notable for what is considered John Wayne's most tender performance and a strong supporting cast including Dean Martin and a very young Ricky Nelson. John Wayne gives a strong performance as usual, but it is director Howard Hawks that really shines, putting together an exciting film filled with humour that never drags during its 2 hours and 21 minute run time. Warner Home Video has put together a fine retrospective Blu-ray release for this Howard Hawks favourite, with an impressive transfer and excellent supplementary material. This 2015 restoration may not be quite up to the calibre of 'The Searchers,' but it is certainly a more-than-respectable effort befitting a legend of John Wayne's stature. All in all I am so glad it is now in my Blu-ray Collection. Highly Recommended! Andrew C. Miller – Your Ultimate No.1 Film Fan Le Cinema Paradiso WARE, United Kingdom

Great movie! Great singing!

There's almost a kind of bridge between the westerns of old and the sort of last legs of the western in this film- it has the good ol' sensibilities of the classics (loyalty, honor, the power of the sheriff, the quirkiness and durability of the ones around him, shoot-outs), while also giving some room for some more modern ones (Dean Martin as 'Dude', Angie Dickinson as 'feathers', and the overall excitement). It has a song at one point (obviously for one its stars, the late Ricky Nelson, a popular singer at the time). It has the crotchety, funny old man (Walter Brennan as Stumpy, one of his best roles). And, of course, the 'Duke' John Wayne, who has his usual swagger and qualities that make him a prime figure of the 'male' in films. This time though, he does have some of his tough exterior shed away a little, maybe. Howard Hawks, if nothing else, is most powerful as a storyteller, doing almost nothing with the style of his camera to be creative except to shoot these people, going through the motions. The story, which later was used as a basis for John Carpeneter's Assault on Precinct 13, has Wayne as the Sheriff and Dean Martin as his on and off again drunken deputy 'Dude', who have to look after a criminal in their jail, as he has a brother with a gang who are plotting to break him out. As the Sheriff, or Chance as he's called, has to deal with this, he also has the woman, and the old man, and Dude (Martin is great in the film, maybe the best male performance of the lot), not to mention the hot-to-trot young gunslinger played by Nelson. In all, it's the kind of genre film that should be taken seriously on one hand, but on the other, its meant to be a rollicking good time through the less tense and exciting parts (and there are quite a few from a director who once said that 'there's no action without danger). It lacks a kind of urgency that some of Hawks' other films have, and occasionally Wayne is a little too much "The Duke" to see if he's really giving a well-rounded performance as the sheriff. But besides that, it makes for some very memorable moments, a slick ending, and some endearing performances. It's also a film that takes its characters to heart as much as its story; a credit to screenwriters Jules Furthman and Leigh Brackett (the later one of my favorites of the period). Not quite a masterpiece, but its definitely worth watching at least once if you're getting into the genre.

In my mind, Rio Bravo is hands down one of John Wayne’s absolute best films. Howard Hawks crafted a perfect western focused on character, tension, and camaraderie, and it is a movie I love so much that I watch it at least once a month. It never gets old. Getting to experience it on this new 4K UHD release from Warner Bros. is like seeing it again for the very first time. The 4K Restoration The restoration on this disc looks absolutely incredible. The native 4K transfer brings a massive jump in clarity and fine detail over the old Blu-ray. From the textures of the dust on the streets to the fabric of the shirts and the stubble on the actors' faces, everything looks wonderfully sharp. The HDR implementation makes the Technicolor presentation shine, giving a beautiful pop to the sun-baked daytime exteriors and delivering deep, stable black levels during the atmospheric nighttime scenes. It preserves the natural film grain perfectly, giving it a flawless, cinematic look. An Unforgettable Cast Every single member of this cast brings their A-game, making the long runtime fly by: The Musical Interlude: One of the absolute highlights of the film is the legendary, relaxed scene in the jailhouse where Dean Martin and Ricky Nelson break out into song. Hearing those two incredible voices blend together on "My Rifle, My Pony, and Me" is pure magic and an unforgettable piece of cinema history. Angie Dickinson: This was one of her very first major movie roles, and her acting is fantastic. As "Feathers," she completely owns the camera, bringing a sharp wit, charm, and incredible chemistry to her scenes opposite Wayne. Walter Brennan: What can you say about Walter Brennan? As the cantankerous, limping old "Stumpy," he steals every single scene he is in. He provided perfect comedic relief while maintaining a fierce loyalty to Chance. It is a masterclass performance that reminds you just what an incredibly versatile character actor he truly was. The Verdict If you love classic cinema and the Duke at his absolute finest, this 4K release is an essential addition to your collection. The film is an undeniable masterpiece, and it has never looked or sounded better than it does right here. Highest recommendation!

SEHR GUTER WESTERN

This 4K release is outstanding. Colour and clarity is th best ever of any release of this movie. As well the detail really stand out in the foreground and background. You can even read the sheriff's badges and see scuff marks in Dudes vest clearly. Audio is bright and clear. The bright outdoor densest scenes never looked better,. This one is a winner. Expensive but fans of Rio Bravo will not be disappointed. Rates a 10 out of 10.

Im allgemeinen war John Wayne in den Filmen am besten, in denen er durch das Drehbuch gefordert wurde, gegen sein eigenes Klischee zu spielen, also beispielsweise in "Red River" und "The Searchers". Jedoch - keine Regel ohne Ausnahme. In "Rio Bravo" ist er ohne Einschränkung großartig, obwohl er hier John Wayne, John Wayne und nichts als John Wayne spielt. Will heißen: als Sheriff John T. Chance ist er der typische harte Bursche mit weichem Kern, unerschrocken, besonnen, integer und prinzipientreu und mit praktisch jeder positiven Eigenschaft versehen, die ein Westernheld überhaupt haben kann, und außerdem mit jener Prise Humor und Selbstironie, die verhindert, dass die Sache sich ins pathetische versteigt. Wayne gibt, kurz gesagt, den sympathischsten Charakter, der jemals in einem Western zu sehen war. Hier ist er nicht nur John Wayne, sondern der beste aller möglichen John Waynes. Die Geschichte ist von rührender Schlichtheit (um nicht zu sagen Einfalt): Mit einer Handvoll Getreuer verteidigt Chance das Gefängnis, in dem er den Mörder Joe Burdette gefangen hält, gegen eine Bande von dessen Bruder Nathan gedungener Revolvermänner, rettet nebenher seinen aus unglücklicher Liebe zum Säufer gewordenen früheren Hilfssheriff Dude (Dean Martin) aus der Gosse und erlebt eine etwas spröde Liebesgeschichte mit der Pokerspielerin Feathers (Angie Dickenson). Das Geschehen bewegt sich geradezu rituell zwischen den Schauplätzen Gefängnis - Straße - Hotel; das Glück wechselt hin und her, aber am Ende behalten - natürlich - die Guten die Oberhand. Zentral für den Film sind die vielen Szenen zwischen Chance, Dude, dem alten Stumpy (Walter Brennan) und dem jungen Colorado (Ricky Nelson), die trotz vieler kleiner Reibereien zu einer verschworenen Gemeinschaft werden und als solche der feindlichen Übermacht trotzen können. Das wird von den vieren so wunderbar ausgespielt, dass sie einem richtig ans Herz wachsen. Dabei ist der Grundton des Films vergleichsweise leicht und humorvoll und vermeidet mit großem Geschick sowohl Pathos als auch Klamauk - die vier Helden agieren überzeugend nach der Devise: die Lage ist hoffnungslos, aber nicht ernst. Und selbst die berühmte musikalische Einlage von Dean Martin und Ricky Nelson ("My rifle, my pony and me") hat Stil und fällt nicht aus dem Rahmen. Stilsicherheit, das zeichnet diesen Film von der ersten bis zur letzten Minute aus. Bekanntlich hat Howard Hawks "Rio Bravo" als Gegenentwurf zu "High Noon" gedreht, dessen todernste, pathetische Grundhaltung ihm ein Greuel war. Für meine Begriffe ist "Rio Bravo" der um Längen bessere Film. Zwar erreicht er nicht die dramatische Geschlossenheit und Stringenz von Fred Zinnemanns Klassiker, aber auf die hatte es Hawks auch gar nicht abgesehen, der stattdessen ein viel differenziertes Bild der Personen und ihrer Beziehungen entwirft. Außerdem ist bei Hawks das gute Ende als Erfolg der "verschworenen Gemeinschaft", die sein Film feiert, logisch und folgerichtig, während das Happy End in "High Noon" unlogisch und inkonsequent ist: da es Gary Cooper dort nicht gelingt, die Menschen der Stadt als Helfer zu gewinnen (was während des ganzen Films als zwingende Voraussetzung für den Erfolg vorausgesetzt wird und neunzig Prozent der Handlungszeit ausmacht), dürfte er den Kampf am Ende nicht gewinnen oder zumindest nicht überleben, sondern müsste sein Leben opfern. Wayne, Martin, Brennan und Nelson dagegen lassen zwei Stunden lang keinen wirklichen Zweifel daran, dass sie das Ding schon schaukeln werden. Man gönnt es ihnen von Herzen. Fazit: "Rio Bravo" ist einer der schönsten, wenn nicht der schönste Western. Wer sich diesen Film nicht ansieht, hat selber Schuld.

Arrived on time and I loved it

very good