Seen: June 19th, 2007
Format: DVD
Rating: 8
Almost two months ago I wrote a review of El Dorado. Well, I've finaly gotten around to watching the original version of that film. I was surprised at how similar and yet how different it was.
I think I like this one better.
Rio Bravo contains most of the elements in its remake, but It's got a different tone. There's more humor here. It's not just comic relief, there's an air of just plain love of life despite the twists it hands you. It's not nearly as existentially dark as El Dorado, which has a sardonic flavor.
My favorite actor in this film is Pedro Gonzalez Gonzalez. It's nice, expecially at the time this movie was made, to see a role this prominant for a Hispanic actor. Carlos isn't wall paper in this film, he's a business owner with a wife he has a little trouble handling. While he's a bit subservient to Wayne's sheriff, it's in the natural way a townsperson is to the law. The underwear scene established quickly that these two are friends and repsect each other. Chance places his trust in Carlos when he insists he's responsible for getting Feathers on the stage. Pedro i is largely a straight man for comic relief, but Gonzalez plays him with great heart.
The Duke is in solid form. This is no stretch for him, but he's become the reference point for characters of this type. He plays it pretty much straight down the line. Which is just fine.
I'm surprised by the quality of the acting by Dean Martin and Rick Nelson as well. Both do well here. Martin is a bit overdramatic in his acting at times, but balances that with some understated work as well. Nelson's Colorado is respectful, naive and yet clever and a bit jaded as well. His sense of irony is a very nice touch. Colorado and El Dorado's Mississippi are the closest in character between the two films, but are still very different.
The singing bits are a bit overdone, but expected and accepted for a film with these stars in this time.
Dickinson shines as well. Her swings in character are a bit broad, but this is probably a conscious choice, whether made by Hawks or herself, I can't tell. The rest of the ensemble is fine. I get a bit tired of Walter Brennens' routine, but that's me.
There's a lot of tension here. It's a longish film, drawing things out over several days. The premise is set very quickly and the left to create a pressure which looms throughout the rest of the picture. When it finally comes to a head, I was a bit surpirsed at how simply it did so. I expected something more convoluted, more crafty, but it serves well.
We're not really surpised by the ways things are resolved, but this is a western after all. If things went too far astray it would undermine the whole picture.
Basically, this is solid western fair. Good Guys and Bad Guys, girls we're not quite sure about, all wrapped up in a drawn out standoff that can only end one way. It's classic. It's a cornerstone of American cinema and timeless.
The Good: Straight up western, no chaser
The Bad: Musical numbers
The Ugly: Working your way back from the edge
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