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Maybe It Was the Heat of the Sun, Maybe It Was Something Much Hotter: Hombre, the Film

#NoSpoilers

If you’re not a fan of Elmore Leonard, you should be. He’s one of the best storytellers around, renowned for his gritty realism, his succinct and highly memorable dialogue, his intense characters, and conflicts that turn audience expectations upside-down and backward before rolling those expectations down a steep hill. Twenty-six of Leonard’s stories and novels have been turned into films or television series, and you can always pick out the original dialogue because, as he memorably quipped, “if it sounds like writing, I rewrite it” and “I try to leave out the parts that readers skip” (Ten Rules of Writing).

Whether you’re a fan of his early Westerns or his later crime fiction, you can never go wrong reading one of Elmore Leonard’s pieces of fiction or watching one of the dramatic adaptations of his work. “Edgy” and “unexpected” are probably two of the best adjectives to describe his fiction, although he’d no doubt object to my using so many adjectives, since he was famous for describing his characters as little as possible, letting their dialogue and their actions reveal all that was essential in their natures.

Paul Newman as John Russell, Diane Cilento as Jessie, and Margaret Blye as Doris, Hombe ©

Based on the novel of the same name by Elmore Leonard, Hombre (1967), the film is everything you’d expect from Elmore Leonard, but nothing you’d typically expect from Hollywood, espcially in the 1960s. If you were to see the advertisement, you’d think it was just another white man raised by Indians trying to return to white society where nobody wants him kind of movie. “Ah, yes,” wrote Roger Ebert in his original review of the film, “we know the characters well from a thousand other Westerns”:

The good but indecisive Mexican, the decisive but bad Mexican, the thieving Indian agent, his cultured wife, the desperado, the lady boarding house operator with a heart of gold, and the Kid.

While those are, indeed, some of characters in this story, Hombre goes far beyond the Western tropes and clichés to become an examination of morality, human nature, and the struggle to survive.

Some critics call Hombre a “revisionist Western” because it shows Indians — or, at least, a white man who was raised by Indians — in a way that’s different from the shrieking savages riding circles around burning covered wagons that Hollywood typically portrayed. But the film is not really interested in the conflict between the races, although racism certainly is a significant part of the characters’ natures and contributes to many of the film’s conflicts. Instead, Hombre is about human conflict, no matter the race, the gender, or the age of the character. And that’s what makes this film a classic.

Paul Newman as John Russell, Hombre ©

Hombre opens with a blue-eyed Indian (Paul Newman) and a band of fellow Apaches patiently waiting for a group of horses to come down to a waterhole, which they have fenced off in order to capture them.

Peter Lazer as the Kid, Hombre ©

A Kid (Peter Lazer) comes down and tells the blue-eyed Indian, whose adopted name is John Russell, that Henry Mendez wants to see him about an important matter.

Martin Balsam as Mendez, and Paul Newman as John Russell, Hombre ©

When John Russell goes to see Mendez (Martin Balsam), a half-Mexican, half-white stage driver, he tells Russell that his adopted father has died and left him a boarding house that actually makes money. Mendez encourages Russell to “accept” his own half-white heritage and take ownership of the boarding house, which would make his life easier. Mendez also encourages Russell to cut his hair so that other whites will accept him more easily.

Paul Newman as John Russell, Hombre ©

Meanwhile, at the boarding house, the woman who has been running it for years is nervously anticipating the new owner’s arrival.

Diane Cilento as Jessie, Hombre ©

Jessie (Diane Cilento) even tosses her sheriff-boyfriend Frank (Cameron Mitchell) out of her bed, sending him back to his own room in the boarding house, since she isn’t sure how the new owner will take such “immoral” relations. She gets the house ready for John Russell’s arrival, even polishing the silver, causing Mendez to laugh, telling her that Russell “eats with his fingers,” so she’s going through a lot of work for nothing.

Cameron Mitchell as Sheriff Frank, Hombre ©

Russell doesn’t want the silver because he doesn’t even want the boarding house. He intends to sell it, leaving Jessie out of a place to live and of an income. After she attempts to convince her boyfriend — Sheriff Frank — to marry her, she decides it’s time to leave and start a new life somewhere else.

Margaret Blye as Doris, and Peter Lazer as the Kid (Billy), Hombre ©

At the station, two other boarding house residents are also waiting to leave so they can start a new life: the Kid, whose name is Billy, and his wife Doris (Margaret Blye), who apparently married Billy to escape a brutal, unhappy life with her father, only to have an equally unhappy life with her new husband. She believes if they start their life somewhere else, their relations will improve, and Billy hasn’t much choice except to go along with her.

Barbara Rush as Audra Favor, and Fredric March as Reverend Dr. Alex Favor, Hombre ©

While this group is waiting for the stage’s departure, an obviously wealthy woman (Barbara Rush) and her older husband (Fredric March) come into the station. When Mendez informs them that they cannot hire the stage to get to their destination in three days, Mrs Favor buys the stage, horses and all, to ensure that she and Favor are able to make their trip.

Richard Boone as the Bad Guy, Hombre ©

Later that night, the Bad Guy (Richard Boone) comes into the station and insists on taking one of the passengers’ places on the stage. After he intimidates an army officer into giving up his seat, he joins the rest of the passengers on a journey that, rather than being merely the trope of strangers on a journey in a stagecoach who are forced to form a community, albeit a temporary one, becomes, instead, a journey that will show the racial, cultural, and economic tensions that divide everyone in the group.

All the gang in Hombre ©

When the stage driver Mendez attempts to go a different route to avoid three strangers that he fears are highwaymen who want to rob the passengers, the group is attacked by some people they never expected to fear. Stranded in the desert with the money the outlaws want, they attempt to return to the town they left. The outlaws, who have a hostage and some of the water, follow the group, willing to kill any and all of them for the fortune they stole from the stage.

Paul Newman as John Russell, Hombre ©

As if an abundant stolen fortune and a serious lack of water in the desert weren’t enough for a group of clashing personalities to deal with, the group members turn on each other for every reason imaginable, revealing the greed, misogyny, racism, and elitism that makes this Western more than a cowboys vs. Indians, white men vs. non-white men, good vs. evil tale. Virtually everyone in this story is selfish and ugly, everyone wants something he can’t have without hurting someone else, and everyone seems ready to betray everyone else in order to survive.

Hombre is an “excellent example of how violence is more effective the less it’s used,” and the emotional and cultural violence is more important to the story than any of the physical violence, most of which, including the murders, is not graphic. With outstanding performances by Newman (John Russell/Hombre), Boone (Bad Guy), and Cilento (Jessie),  Hombre‘s messages are far more brutal than its shootouts.

Available for rent ($2.99-3.99 SD/HD) from Amazon (free with a 7-day trial of Starz), GooglePlay, YouTube (not available for iOS), and Vudu. Always free for Starz or DirecTV subscribers.

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I Ain’t Never Been No Hero: More Great Westerns

No Spoilers

I love Westerns, though most of the Westerns I favor fall into what are considered the sub-genres, with some of them not even taking place in the American West, for example, but containing iconic character motifs and themes present in Western films. My Top Ten Western films have characters, storylines, and themes make them powerful films that I watch over and over. They don’t always end happily, but they end honestly, with the finale of the movie developing out of the characters’ natures, their conflicts, and the decisions they’ve made previously — either in the film itself or in their lives before the events in the story take place. Here are more of my favorite Westerns, films I can always watch one more time.

 The Long Riders
(1980)

Starring sets of real-life brother actors as historical brother outlaws, The Long Riders explores America’s violent post-Civil War past in a unique way. The most factual of any film about the James-Younger Gang, it covers the activity of Frank and Jesse James (Stacey and James Keach); Ed and Clell Miller (Dennis and Randy Quaid); Cole, Jim, and Bob Younger (David, Keith, and Robert Carradine); and Bob and Charley Ford (Nicholas and Christopher Guest).

Jesse is the titular head of the Gang, but after he disapproves of Ed’s behavior during one of that raids/robberies, rifts begin to form among the Gang members. Pursued by posses and the Pinkertons, the Gang is nevertheless protected by family and neighbors, who consider them local heroes rather than criminals. When hiding out, the brothers court women, and are courted by them in turn, which causes added stress in the Gang. As the Gang’s crimes escalate, so does the Pinkertons’ determination to capture them. After innocent people begin to get hurt and killed, the Gang loses its local support and goes further afield to rob stages, trains, and banks, increasing the Gang’s notoriety and fame, but also increasing its risk.

Even if you know the story of the James-Younger Gang, this film is engaging and worth watching. The cinematography is very effective and powerful, especially as the Gang escalates its violence. The Long Riders is available for rent $3.99 from Amazon (free with a 7-day Starz trial) or free from Starz with a subscription.

The Professionals
(1966)

Four American “specialists,” i.e., mercenaries (Burt Lancaster, Lee Marvin, Robert Ryan, and Woody Strode), are hired for an extremely dangerous but potentially lucrative, once-in-a-lifetime mission: deliver a $100K-in-gold ransom and rescue the beautiful young wife (Claudia Cardinale) of an older, wealthy rancher (Ralph Bellamy). Because two of the professional soldiers fought in Pancho Villa’s Army during the Mexican Revolution, they’re willing yet wary, if only because they know the ostensible kidnapper Razza (Jack Palance) intimately, and “kidnapping doesn’t seem like his thing.”

Fighting the desert, weather, rogue bandits, self-doubt, and each other, the Professionals use their individual skills — with dynamite, knives, bow-and-arrow, guns — as they head for Razza’s presumed hide-out. When they come upon Razza derailing a train and executing soldiers, they realize their mission may be more dangerous than they’d originally than anticipated because “something’s dicey about this set-up.”

Lancaster as the woman-loving wit is especially entertaining. With surprising (and satisfying) plot-twists, The Professionals is an often-neglected gem of a Western. Available from Amazon available for rent $3.99 (free with a 7-day Starz trial) or free from Starz with a subscription.

The Shootist
(1976)

Opening with a montage of John Wayne’s film roles as the “history” of gunslinger J. B. Books (Wayne), narrated in Voice-Over by The Boy (Ron Howard) who idolizes him, The Shootist is my favorite role by both of these actors. Diagnosed with advanced cancer, with only about 6 weeks to live, Books settles in for a last stay in the lodging house of Widow Rogers (Lauren Bacall), mother of The Boy. Though Books wants anonymity and privacy, The Boy discovers his identity almost immediately and proudly trumpets that a famous Shootist is staying at his house. Books wants to keep him terminal illness secret, too, but he’s forced to tell people in order to stay quietly in the town till he dies.

When the stories of Books’ impending death begin to spread, other gunslingers who want to improve their own reputations by killing the famed Shootist arrive. Books’ instinct for survival and self-preservation combat with any desire he has to die quietly. Worse, he decides he doesn’t want to be alone, and the Widow Rogers and her son have caught his eye.

The chemistry between Wayne and the impressive line-up of guest stars —  James Stewart, Henry Morgan, Richard Boone, Scatman Crothers, John Carradine, Hugh O’Brien, Sheree North — is surpassed only by the chemistry between Wayne and Bacall, and by that between Wayne and Howard. This is the role that should have won Wayne the Oscar: he’s better by far as the fighting-fading Books than as True Grit‘s cantankerous Cogburn. The Shootist is available from Amazon ($3.99 to rent).

3:10 to Yuma
(2007)

Based on an Elmore Leonard short story, and a remake of the 1951 film of the same name, 3:10 to Yuma packs powerful Western icons with clever dialogue and strong performances. Civil War hero Dan (Christian Bale, in one of his best roles) is about to lose his ranch because he didn’t have enough money to pay the mortgage and to buy feed for his cattle, purchase water during the drought, and to obtain the drugs for his consumptive youngest son.

When attempting to retrieve some of his cattle scattered by ne’er-do-wells, Dan and his sons run into escaped Bad Guy Ben Wade (Russell Crowe, below R) and his Gang, who have just ambushed the Pinkertons to rescue one of their Gang members. After rescuing the wounded Pinkerton McElroy (Peter Fonda), Dan, who is determined to save his ranch, offers to help escort the proverb-quoting escaped convict Wade to Detention so he can be put on the 3:10 to Yuma Prison.

The treacherous journey turns into a contest of wills between idealistic Dan, whose oldest son idolizes the criminal, and the notorious Bed Wade. As Ben’s Gang attempts to rescue its leader, Dan tries to earn his own son’s respect by completing the job he was hired to do. 3:10 to Yuma is filled with excellent writing, rousing action, and memorable characters. The scenes between Bale and Crowe are exquisite. Available from Amazon ($9.99SD-$12.99HD to purchase, or free with a 7-day Showtime trial), or free with a subscription from Showtime or DirecTV.

Salvation
(sometimes translated as The Salvation)
(2014)

Salvation, sometimes translated as The Salvation, is the Danish tribute to Sergio Leone’s classic Spaghetti Westerns, exploring some of the genre’s classic icons: The Man with No Name, The Town Besieged, The Cowardly Townspeople, The Man Seeking Vengeance. Jon (Mads Mikkelsen, below R) has come the the American West, from Denmark, with his brother Peter (Mikael Persbrandt, below L) after the disastrous War of 1864.

Seven years later, Jon has enough money to bring over his wife and 10-year-old son. Though these two characters are not developed — existing only as a reason for Jon to seek revenge for the heinous crimes against them, the film doesn’t suffer from that weakness. Instead, it plunges into Jon’s story as he and his brother seek revenge against the Bad Guys, led by DeLaRue (Jeffrey Dean Morgan).

Terrorizing a town where no one is willing to stand up to the villains but where everyone wants a Saviour, DeLaRue and his Gang rule the populace with the aid of a corrupt Mayor (Jonathan Pryce) and a milque-toast Preacher-Sheriff (Douglas Henshaw). Eventually joined by “The Princess” (Eva Green), who appears to have been the captive “wife” of one of the rapists/murderers and who had her tongue cut out by Indians when she was kidnapped as a young girl, Jon fights for justice.

The addition of the mystery-suspense sub-plot makes this Revenge Tale one of the more interesting Westerns. Everyone in the film is more realistic than iconic, as they are in some of the classic Spaghetti Westerns: it usually takes Jon several shots to put down an assailant. Moody and atmospheric, with artistic cinematography, Salvation is available from Amazon ($4.99 to rent, or free with a 7-day trial from Showtime), is available for purchase for $14.99 from iTunes, or for $12.99 from GooglePlay, and YouTube, and is available free with a subscription from Showtime, IFC, or DirecTV.

If you know of any other classic Westerns that I might enjoy, please feel free to tell me about them in comments.

My original Top 10 Westerns post 
If You’re Going to Shoot,
Shoot: Don’t Talk

is now divided into two posts,
updated with official trailers and film availability:


We All Have It Coming:
Top 5 Westerns

and


I’m Your Huckleberry:
5 More Top Westerns

(originally films #6-10)

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