RIO BRAVO

PRODUCED AND DIRECTED BY HOWARD HAWKS
MUSIC BY DIMITRI TIOMKIN
AN ARMADA PRODUCTION
WARNER BROS

http://i27.photobucket.com/albums/c187/john-wayne/John%20Wayne/chance_colo.jpg..http://i27.photobucket.com/albums/c187/john-wayne/John%20Wayne/CIN01177_C112.jpg

http://i27.photobucket.com/albums/c187/john-wayne/John%20Wayne/shutup-1.jpg..http://i27.photobucket.com/albums/c187/john-wayne/John%20Wayne/wayne17.jpg

John Wayne The big guy with the battered hat...
and Dean Martin
the ragged woman-wrecked castoff called Dude...
and Ricky Nelson The rockin' babyfaced gunfisted kid...
And Time Was Running Out Through Bullet Holes At Howard Hawks' "Rio Bravo"

Plot Summary
Sheriff John T chance, arrests Joe Burdette, for the brutal muder of an unamed man.
He can't get him out of town for justice by the U.S.Marshal.
He can't get help in, so he is holed up in the jail, with a cripple, a gunslinger dude,
and a gunslinger, turned drunk.
He has to stop Burdettes gang from releasing him.

INFORMATION FROM IMDb

Full Cast
John Wayne .... Sheriff John T. Chance
Dean Martin .... Dude ('Borachón')
Ricky Nelson .... Colorado Ryan
Angie Dickinson .... Feathers
Walter Brennan .... Stumpy
Ward Bond .... Pat Wheeler
John Russell .... Nathan Burdette
Pedro Gonzales-Gonzales .... Carlos Robante
Estelita Rodriguez .... Consuela Robante
Claude Akins .... Joe Burdette
Malcolm Atterbury .... Jake (stage driver)
Harry Carey Jr. .... Harold (scenes deleted)
Walter Barnes .... Charlie (bartender) (uncredited)
Nesdon Booth .... Bit part (uncredited)
George Bruggeman .... Clem (uncredited)
Yakima Canutt .... Gunman on horse (uncredited)
Jose Cuchillo .... Pedro (uncredited)
Robert Donner .... (uncredited)
Fred Graham .... 2nd Burdette man in shootout (uncredited)
Joe Gray .... Card player (uncredited)
Myron Healey .... Barfly (uncredited)
Riley Hill .... Messenger (uncredited)
Eugene Iglesias .... 1st Burdette man in shootout (uncredited)
Gordon Mitchell .... (uncredited)
Tom Monroe .... Henchman (uncredited)
Chuck Roberson .... Gunman (uncredited)
Bing Russell .... Cowboy murdered in saloon (uncredited)
Joseph Shimada .... Burt (undertaker) (uncredited)
Dean Smith .... Card-Playing Burdette Henchman (uncredited)
Bob Steele .... Matt Harris (Burdette gunman) (uncredited)
Ted White .... Bit part (uncredited)

Writing Credits
B.H. McCampbell (short story)

Produced
Howard Hawks

Original Music
Dimitri Tiomkin

Cinematography
Russell Harlan (director of photography)

Stunts
Bill Babcock .... stunts (uncredited)
Joe Byrne .... stunt double: Ricky Nelson (uncredited)
Yakima Canutt .... stunt coordinator (uncredited)
Fred Graham .... stunts (uncredited)
Joe Gray .... stunts (uncredited)
Bob Herron .... stunts (uncredited)
John Hudkins .... stunts (uncredited)
Chuck Roberson .... stunt double (uncredited)
Chuck Roberson .... stunts (uncredited)
Dean Smith .... stunts (uncredited)
Bob Terhune .... stunts (uncredited)
Ted White .... stunts (uncredited)
Jack Williams .... stunts (uncredited)

Trivia
There are only two close-ups in the movie: Joe firing his gun and Dude's hands trying to roll a cigarette.

The sets in Old Tucson are built to 7/8th scale, so the performers look larger than life.

Although Harry Carey Jr. was listed in the credits on-screen, he does not appear in the picture. Carey had a drinking problem at the time. He called director Howard Hawks "Howard" instead of "Mr. Hawks" on one of his first days on the set, infuriating Hawks. His contract, including his pay and his screen credit, was honored, but his part (a townsman) was cut.

The song "My Rifle, My Pony and Me" was originally used as the theme for Red River (1948), another John Wayne western. The original title was "Settle Down".

The movie had an interesting preview trailer. In the trailer, Ricky Nelson finishes playing his guitar, then he turns to the camera and talks about the exciting nature of the film. After some clips are shown, they cut back to Nelson who lists the cast members. When he does not mention his own name, we hear the voice of Dean Martin say off camera "What about Rick Nelson"?

For the first four full minutes of film (including credits) there is no dialog.

The movie was made by Howard Hawks and John Wayne as a counter-response to the underlying theme and point of view of High Noon (1952).

John Wayne and Ward Bond's 22nd and final movie together.

Ward Bond's death scene was filmed from a distance because it was actually a double.
Bond had already left the set to be back on location for "Wagon Train" (1957).

After seeing the film, Gary Cooper said it was "so phony, nobody believes in it." Ironically, Cooper had been a visitor to the set since he was filming The Hanging Tree (1959) nearby. "Rio Bravo" is considered to be John Wayne and Howard Hawks' reply to Gary Cooper's own film "High Noon" because neither Wayne or Hawks thought a real lawman would want or need to ask for help in handling a problem like Cooper's character did in that film.

John Wayne was nervous about the love scenes between his character and Feathers, since he was 51 and Angie Dickinson was only 26.

On May 8th, just one week into shooting 'Rio Bravo', Ricky Nelson celebrated his 18th birthday. As a gift, John Wayne and Dean Martin gave him a 300 lb. sack of steer manure, which they then threw Nelson into as a rite of passage.

Montgomery Clift turned down the role of Dude, because he didn't want to work again with John Wayne and Walter Brennan.

Hawks' instructions to Martin who showed up in an almost comical cowboy outfit on the first day of shooting, were not to play a cowboy but just play a drunk.

This was Howard Hawks' first film in four years. After the critical and box office failure of Land of the Pharaohs (1955), Hawks took a break from directing and lived in Europe.

Dean Martin's agent approached Howard Hawks to consider his client for the role of the drunken deputy Dude. Hawks agreed to meet with Martin at 9:30 the next morning. When Hawks learned that Martin had done a show in Las Vegas until midnight, and hired a plane to fly him to the meeting, Hawks was so impressed that he simply sent Martin to get a costume and told him he had the part.

Quentin Tarantino has said that before he enters into a relationship with a girl, he always shows her 'Rio Bravo' and if she doesn't like it, there is no relationship.

The last movie in which John Wayne wore the hat he had worn since Stagecoach (1939).

Malcolm Atterbury is listed in the credits (Jake, the stage driver), but like Harry Carey Jr., does not actually appear in the final cut of the movie.

Dude's nickname Borrachón is Spanish for "drunkard".

More or less remade as El Dorado (1966) and Rio Lobo (1970).

Howard Hawks did not want to cast Ricky Nelson, whom he considered to be both too young and too lightweight, and deliberately gave him the fewest possible number of lines for a third-billed star. However, he later admitted that having Nelson's name on the poster had probably added $2 million to the film's box office performance.

At the Cowboy Hall of Fame in Oklahoma you can see the the rifle used by John Wayne (also used in El Dorado (1966)) and the hat and shotgun used by a.

Inside joke: When Chance (John Wayne) wants to deputize Colorado he asks Stumpy (who is off camera) where he keeps the deputies' badges. While Chance is looking for the badges, Stumpy (Walter Brennan) still off camera tells him to look after his own props. Wayne started off in movie as a prop man and was known to get irate if the props were not where they were supposed to be.

For most of the film Chance (John Wayne) has the front of his hat turned up to make him look a little soft and friendly. However in the tough guy scenes when Chance informs Nathan Burdette that he will have Stumpy kill his brother if there is any trouble, the front of the hat is turned down, in traditional tough guy mode.

When cast on this movie, for publicity, the production had Angie Dickinson's legs insured by Lloyds of London.

Goofs
* Continuity: The bullet hole blasted in the wooden frame near Colorado's head disappears.

* Continuity: When Dude stops taking his drink when the music starts, his right hand is alternately at his mouth, then just above the table, then at his mouth again.

* Continuity: When Chance rushes into a stable, his hat flies off. But in the next shot it is back on his head.

* Continuity: While asking Chance how he ended up as a sheriff, Feathers is handling a small bowl, taken up from the bar. In the next shot, her hands are empty.

* Audio/visual unsynchronized: When Dude comes back from parking Pat Wheeler's wagons, he tells Chance he's going to get a beer. Chance tells him there are some cold ones inside. When Dude is getting off his horse he says "Just as long as it's beer" yet his mouth never moves.

* Audio/visual unsynchronized: When Stumpy, Dude, and Colorado are sitting around playing music and singing, on the second song (where Stumpy sings) in the second verse, Colorado sings "I wish I had an needle..." but he mouths the words "I wish I was a needle."

* Revealing mistakes: At night when Dude and Chance are making their rounds, the camera follows Dude as he walks briefly off the set. You can clearly see a huge concrete pillar he walks past.

* Continuity: When Dude confronts Burdett and his gang, a rifle's butt is showing from the fore part of Burdett's horse. But in the moment he takes off his gun and gives it to a gunman, the rifle is missing.

* Continuity: When Pat Wheeler has come into town, and is talking to Chance, different shots were done at obviously different times of day. When the camera is facing the jail, the sun is coming from the right... when facing back up the street, the sun is again coming from the right (the opposite direction).

* Continuity: After Dude is captured the first time, and Burdette's men ride up the street, the shadows change direction between shots of them approaching and Chance standing out in front of the Hotel with Colorado. These shots were obviously filmed at different times of day.

* Continuity: Feathers throws a pot plant through the window to distract the gunmen. Next scene the window is not damaged at all.

* Continuity: In the final shootout, a bullet hole appears in the window casing next to Colorado, in the next shot the bullet hole is missing and then reappears in later shots.

* Continuity: When Chance and Colorado are walking Joe along the street for the hostage exchange, their shadows change length drastically between one part of the street and the next.

* Audio/visual unsynchronized: When Dude drops the $50 gold piece on the floor after shooting the bad guy in the loft, it makes a tinny sound when hitting the floor. A $50 gold piece was 2 1/2 ounces of gold and would make a distinct "thud" when hitting a wood floor.

* Continuity: After Chance is tripped on the staircase, he ends up lying on his stomach with his arm partially under him. When they roll him over, to wake him up, he is lying more on his side, and his arm is now behind him.

* Continuity: After Chance is tripped on the staircase, Burdettes men roll him over and splash him with a bucket of water. The water stains/marks change numerous times between Chance getting up and walking to the jail.

* Continuity: Towards the end of the movie, after Burdette and his men have surrendered, Colorado is leaning on a water barrel with his hand, and raises his cup to his mouth to drink. When the camera angle changes, he is now leaning on the barrel with his elbow, and his cup is held down by his waist.

* Anachronisms: Toward the end of the film, when Dude is talking to John T. Chance about the girl 'Feathers', Dude says the Ft. Worth stage runs at night and 'Feathers' might be on that stage leaving town. There were no stages that ran at night in 1880's Texas.

* Audio/visual unsynchronized: During the final gunfight, when Stumpy throws the Dynamite for Dude, and Dude says, "I didn't allow for the wind ", his lips never move.

* Continuity: During the Exchange of Dude for Joe, when Dude comes off the stairs of the warehouse, the shadow is behind him. When the camera changes to Joe, his shadow is behind him too. That would be impossible as they were walking towards each other. These shots were done at different times of day.

* Continuity: When Chance asks Feathers if she was sorry she didn't go on the stage, Consuela turns around to face Chance twice.

* Continuity: When Stumpy and Colorado are shooting at Burdette's men from behind the bars, Chance grabs the same shotgun of the gun rack twice.

* Continuity: Dude's position as he stops Burdette's men at the edge of town by the barn.

* Continuity: When Wheeler first gets to town and is talking to Chance about everybody stopping him, Chance's right hand is alternately holding his rifle, or resting up on the Pommel of Wheeler's saddle. It changes a few times during the scene.

* Continuity: After they put Joe in jail, and Joe tells Dude he should sit back there in place of Stumpy, Dude is holding his beer bottle down by his hip. When the camera angle changes, Dude is holding the bottle up by his mouth, and then throws it at Joe.

* Continuity: When Chance is tripped Dude is in the bath, he walked in wearing a solid blue shirt, he looks out before the action starts bare-chested but when Chance is tripped he looks out the door and he's back in the blue shirt. Burdett's men then take him hostage, when the exchange is being made, him for Joe, Dude walks out of the warehouse in a brand new set of duds, a patterned shirt and a tan vest.

* Anachronisms: Though set in the 1880's, Colorado (played by rock singer Ricky Nelson) wears a 1950's era pompadour hairstyle not worn in the 1880's.

* Continuity: When Chance goes into Feathers' room after learning she was standing guard outside his room all night, Angie Dickinson's hair is alternately frayed and neatly styled.

* Revealing mistakes: During a poker-playing scene, one of the players asks the bartender for a new deck of cards. However, the bartender starts reaching for the new deck before the player asks.

* Continuity: Towards the beginning of the movie, Dude is shown at the end of town when the sun is rising. Later in the Movie the same camera angle and view are used as a sunset shot of Dude before he returns to the jail.

* Continuity: During the Exchange of Joe for Dude, Colorado puts his hat on the window sill to his left, when the camera angles change, his hat is now to his right on the window sill.

* Revealing mistakes: John T. Chance wears a wedding ring throughout the movie even though he was not a married man in the story. However John Wayne was married at the time in real life, and for some reason, did not take his ring off during filming.

* Anachronisms: In a scene in the jail, Stumpy refers to Dude getting cleaned up and looking like "Mrs. Astor's pet horse." Stumpy hardly ran in NYC "high society" social circles and hardly knew who Mrs. Astor was, was likely never in NYC and Mrs. Astor's spending habits, which initiated the remark, were decidedly later than the time frame of this movie.

* Continuity: Burdette sets the time for the exchange of Dude and Joe at a half-hour after sunrise; but when the three leave the jail, the shadows are nearly vertical.

* Errors in geography: Saguaro cacti don't grow in Texas.

* Anachronisms: In the scene in the jail where Dude, Stumpy, and Colorado are singing, an "earbud" can be seen in Colorado's right ear.

* Continuity: When Dude shoots the gunman out of the loft in the saloon, the gunman lands right next to the glass on the bar that the blood was dripping into. This would be impossible since he fell forward out of the loft. Therefore the loft is not long enough for it to hang over the glass on the bar, and drip blood into it.

Memorable Quotes (http://www.imdb.com/title/tt0053221/quotes)

Filming Locations
Old Tucson
Stages 5 & 26, Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, California, USA

Previous discussion:-
Rio Bravo (http://www.dukewayne.com/showthread.php?t=1268)

I love this film, but must admit, I had to watch it a couple of times,
before I knew what it was all about!!
I must have missed the plot or something!!
Duke wore his Red River 'D' belt buckle, for the first time!
I thought that Dean Martin made an excellent acting appearance,
but thought that Rick Nelson, was the weakest link, and his acting was lame and limp.
Angie, in one of her first major roles, aquitted herself well.
Ward Bond, didn't last long, and sadly, he didn't last long after making this film,
as this was to be his final farewell, with Duke.
Overall, though, I thought it an enjoyable film.
Rating 8/10

Thanks Keith, I've been waiting for this one. By the way, didn't Bond actually die during the filming? I thought I read once that he was supposed to have a larger part but, his death changed that and they decided to kill his character off and used a stand-in, possibly Chuck Roberson, that could pass for him from a distance in his death scene. I may be entirely wrong but, I thought I read or heard this years ago.

Ward Bond died from an heart attack in a hotel whilst taking a shower in Dallas in 1960 so he couldn't have died while making Rio Bravo.

Duke had appeared in an episode of Wagon Train which was directed by John Ford and was not shown until after Ward's death.

Originally posted by ethanedwards@Jan 21 2006, 12:42 PM
Ward Bond, didn't last long, and sadly, he didn't last long after making this film,
as this was to be his final farewell, with Duke.

25570


Hi,
This was Wards last film, with Duke, so it
was his final farewell, in a Movie, although Duke
did appear in the TV series, Wagon train in 1960.
THE COLTER CRAVEN STORY was filmed in August 1960,
but was not aired until 23rd.November,
Ward died on 5th November.
Duke watched it that evening, with his wife Pilar,
reflecting greatly on the past!!

Memorable Quotes

John T. Chance: You want that gun, pick it up. I wish you would.

John T. Chance: Sorry don't get it done, Dude.

John T. Chance: Sorry don't get it done, Dude. That's the second time you hit me. Don't ever do it again.

Pat Wheeler: If I ever saw a man holdin' the bull by the tail, you're it.

Pat Wheeler: I told him you were the best.
Colorado Ryan: Well, I'll tell you, there's something I'm a lot better at, Mr. Wheeler, and that's minding my own business.

Feathers: Hey, sheriff, you forgot your pants.

John T. Chance: You're not as smart as your brother, Joe. He sees Stumpy sitting in here and realizes that if his men try to come in here to get you you're going to get accidentally shot.
Stumpy: I can practical' guarantee that!

Pat Wheeler: A bum-legged old man and a drunk. That's all you got?
John T. Chance: That's WHAT I got.

Feathers: I thought you were never going to say it.
John T. Chance: Say what?
Feathers: That you love me.
John T. Chance: I said I'd arrest you.
Feathers: It means the same thing, you know that.

[Lobs a hand grenade at the other side]
Stumpy: Hey you! How do ya like them apples?

[discussing Colorado Ryan]
Dude: Is he as good as I used to be?
John T. Chance: It'd be close. I'd hate to have to live on the difference.

[first lines]
John T. Chance: Joe, you're under arrest.

Feathers: In case you change your mind, I left my door open. Get a good night's sleep.
John T. Chance: You're not helping any.

[last lines]
Stumpy: You think I'll ever get to be the sheriff?
Dude: Not unless you mind your own business.
[Stumpy cackles]

John T. Chance: Stumpy!
Stumpy: What?
[Stops playing harmonica]
John T. Chance: They don't need any help with that tune.
Stumpy: What's the matter? Is it getting through to you? Yiuk, yiuk!
[cackles]

INFORMATION IMDb

Wow, I'm surprised no one mentioned Walter "Stumpy" Brennan! He was absolutely my favorite character in this movie (besides the Duke, of course). :D

Interesting plot, but a little threadbare, but all the actors worked together to create a good movie. I thought Ricky Nelson did OK, and I enjoyed him singing with Dean Martin.

Deep Discount DVD (http://search.deepdiscountdvd.com/search?p=Q&ts=custom&w=ro+bravo&search.x=0&search.y=0) has the movie for under $10, and 4 movie posters.

Amazon (http://www.amazon.com/gp/search/ref=br_ss_hs/002-3581901-1689624?search-alias=aps&keywords=rio%20bravo) has the movie, audio CDs, VHS, and the DVD as part of a boxed set (the John Wayne Signature Collection).

Chester :newyear:

The next time you watch this movie, pay close attention to the way Duke and Ward Bond relate to each other as actors and friends while they go through their dialogue.
It's clear that they were extremely comfortable working with one another and familiar with the quirks and signals each would use on the other. This is REALLY obvious when you watch their work in The Searchers.

This is a great movie and represented a return to form for John Wayne after a string of box office flops.

A number of scenes were cut from this movie including a shootout, Harry Carey jnr trying to enlist and some scenes with the stagecoach driver.

Keith for your second post on this topic you have used a picture of John Wayne and Dean Martin from the movie 'The sons of Katie Elder'.

Robbie
:agent:

Originally posted by Robbie@Oct 11 2006, 12:18 AM
Keith for your second post on this topic you have used a picture of John Wayne and Dean Martin from the movie 'The sons of Katie Elder'.
35722


Hi Robbie,,
Wierd isn't it, when you scan over the thumbnail, it shows Rio Bravo,
I reckon it's those folks at Google Images, trying to hoodwink us???

750

Thanks, I'll put this rogue photo, where he belongs!!!

Do you think Dean ever told Jerry to "shut up, don't make me tell you again"...... :D

Keith;

You did a good job on this Film. :) Even though it had a Story that had been used many times before it was just fun to watch. :D At this time the Western was the Films that many people wanted to see and Duke was the King of the Western Films. :cowboy:

It had Action, Music, Horses and a Good looking Woman and just Fun to Watch!!! :rolleyes:

Bill :cowboy:

"Rio Bravo" is my favorite Duke film, bar none. I thought it was a wonderful ensemble of players. In fact, Deano singing the theme song is among my favorite film songs.

Stumpy; I agree with you, and Deano was pretty Darn Good in that Roll! :rolleyes:

Bill :cowboy:

Rio Bravo is one of the best westerns ever made. The story is excellent and the director keeps you on the edge of your seat for almost two and a half hours, that's a remarkable effort considering the relatively small set and on the surface simple story. The acting is superb and you can see where Clint Eastwood got his Dirty Harry lines from (John T. Chance: You want that gun, pick it up. I wish you would.)

I bought the official Region 0 DVD release of this movie in the 90s, and recently bought the Region 2 Warner DVD release of this movie, with a trailer as an extra and I stumbled across a strange thing: the European release is 2 hours and 16 minutes! While the Region 0 release was 2 hours 21 minutes just like the Region 1 Warner DVD release. The European DVD release was cut by 5 minutes! This is really a shame as they also deleted the biography notes that were on the Region 1 release. In the first 45 minutes of the movie they managed to cut about 3 minutes of the movie, does anyone know which scenes were cut?

Originally posted by Danny Wilde@Dec 2 2006, 11:40 PM

I bought the official Region 0 DVD release of this movie in the 90s, and recently bought the Region 2 Warner DVD release of this movie, with a trailer as an extra and I stumbled across a strange thing: the European release is 2 hours and 16 minutes! While the Region 0 release was 2 hours 21 minutes just like the Region 1 Warner DVD release. The European DVD release was cut by 5 minutes! This is really a shame as they also deleted the biography notes that were on the Region 1 release. In the first 45 minutes of the movie they managed to cut about 3 minutes of the movie, does anyone know which scenes were cut?
37415


Hi Danny Wilde,

Thanks for your post, and bringing up this difference.
I have never compared the two, but it is
a subject that both Robbie and Rough Rider
would be keen on solving.

I have also, quoted you post in th appropriate Missing Footage thread

I'm not sure why this was done, I'm sure its got nothing to do with unseen deleted scenes that we have not viewed before, I only have the Vhs version of Rio Bravo and I'm pretty sure its uncut and runs to about approximately 136 minutes.

Its a great shame that the deleted scenes from this movie and other John Wayne movies are lost never to be seen.

Some footage deleted from this movie includes an additional shootout and Harry Carey Jnr attempting to enlist as one of Chances deputies.

Originally posted by Robbie@Dec 4 2006, 02:26 PM
I'm not sure why this was done, I'm sure its got nothing to do with unseen deleted scenes that we have not viewed before, I only have the Vhs version of Rio Bravo and I'm pretty sure its uncut and runs to about approximately 136 minutes.
37476


According IMBD the running time of Rio Bravo is appr. 141 minutes, that's how long my Region 0 DVD version of Rio Bravo is.
According to several DVD reviews of the Region 1 release running time is 141 minutes! (see the excellent http://www.dvd-basen.dk/ for a database of reviews from all regions)
This means the "uncut" version is 141 minutes. In the first 45 minutes of the movie there already are 3 minutes cut, so I can see whether I can find out where the cuts are made. I'll post them as soon as I've done that.

I agree it's a shame that scenes that ended on the cutting floor are lost forever. The very thin DVd release of Rio Bravo doesn't do justice to this excellent movie at all.

Originally posted by Danny Wilde@Dec 5 2006, 03:34 AM
According IMBD the running time of Rio Bravo is appr. 141 minutes, that's how long my Region 0 DVD version of Rio Bravo is.
According to several DVD reviews of the Region 1 release running time is 141 minutes! (see the excellent http://www.dvd-basen.dk/ for a database of reviews from all regions)
This means the "uncut" version is 141 minutes. In the first 45 minutes of the movie there already are 3 minutes cut, so I can see whether I can find out where the cuts are made. I'll post them as soon as I've done that.

I agree it's a shame that scenes that ended on the cutting floor are lost forever. The very thin DVd release of Rio Bravo doesn't do justice to this excellent movie at all.
37508

I responded to this and don't know whether you saw it or not. Your query was copied to a new topic by an administrator, so maybe that's why you didn't see it.

See... Missing Footage And Deleted Scenes (click the link below).

Rio Bravo (http://www.dukewayne.com/showthread.php?t=3074&view=findpost&p=37441)

Walter Brennan really makes this movie.

Hi cchoate,

If you've not already take a look at this thread


Pals of the Saddle- Walter Brennan (http://www.dukewayne.com/thread2061.html)

I was lucky enough to see Rio Bravo this summer on a big screen at the University of Chicago. It was shown using the dvd and a projector so it wasn't the greatest quality, but it was still great to see it on a big screen after years of seeing it on television.

I hope RB gets the 2-disc treatment that all those Wayne-Ford westerns got last year. It's long overdue, especially considering the barebones release in the cardboard packaging available now.

Hi Patrick

I can personally recommended the Epsom TW10 Projector.

You can get cinema quality from this machine

Link attached

http://www.cvsmedia.co.uk/shop/product_info.php?products_id=2765


Best


Mike

ethanedwards,

I noticed one additonal thing that stood out to me in Rio Bravo that seemed out of whack. When Dude went into the bar after the guy who shot wheeler and he spotted the blood dripping into the drink on the bar there were a few drops of red. At the end of the scene the drink was almost pure red. I wondered if this wasn't due to additional takes or if whatever they had dripping didn't continue through the scene. Regardless it seemed to be an inconsistency I thought of when reading the section on goofs.

I noticed the additional red in and on the outside of the glass as well. I bought this DVD this past weekend and watched it yesterday.

Yes, I see what you mean. never noticed that before.

Blood being thicker than the thing they called beer back in those days, it wouldn't take much blood for the beer to become colored as you can see in the images. One other point though... in image 3, you see where the guy was standing/shot by the Sheriff... he's an awful long ways from being over the top of the beer glass.

http://i29.photobucket.com/albums/c279/CJane_59/Duke/th_Image1.jpg (http://i29.photobucket.com/albums/c279/CJane_59/Duke/Image1.jpg) http://i29.photobucket.com/albums/c279/CJane_59/Duke/th_Image2.jpg (http://i29.photobucket.com/albums/c279/CJane_59/Duke/Image2.jpg)
http://i29.photobucket.com/albums/c279/CJane_59/Duke/th_Image3.jpg (http://i29.photobucket.com/albums/c279/CJane_59/Duke/Image3.jpg) http://i29.photobucket.com/albums/c279/CJane_59/Duke/th_Image7.jpg (http://i29.photobucket.com/albums/c279/CJane_59/Duke/Image7.jpg) <--- Click to enlarge images
(http://i29.photobucket.com/albums/c279/CJane_59/Duke/Image7.jpg)

I disagree because the bar ran further back than photo three shows. The second point I would like to make is that in photo three we can't see the gun or glass on the bar indicating that it is more or less directly under the loft.

Photo three is actually fascinating, even in the loft there are some saloon props such as the beer barrel which adds to the movie, It also interesting to see a photograph from height which adds a new dimension to this great scene.

:agent:

This is one of my all time favorites, because of Walter Brennan one of the greatest co stars in movies his chracters are excellent like stumpy or in the movie Dakota. The duke is excellent of course and Dean Martins singing second to none. It seems like the Duke had to use Ricky Nelson and the young stars of the time maybe to bring the young audience in . like Fabian in North to Alaska. I keep this one on my tivo for immediate viewing.

I couldn't post any more than 4 photos but if you look at the bar the glass is visible in photo 3 and the bar ends before the post he is leaning against which has to be close to the ladder that took him into the loft. You see the ladder way in the corner on the first image below. The layout just doesn't work. Then when the Sheriff shoots the guy, where he lands can't work out either. The only thing that might explain the difference is you see the blood on his leg after he falls, the blood could have traveled in the loft and found a hole at the end of some floor board.

http://i29.photobucket.com/albums/c279/CJane_59/Duke/th_Image8.jpg (http://i29.photobucket.com/albums/c279/CJane_59/Duke/Image8.jpg) http://i29.photobucket.com/albums/c279/CJane_59/Duke/th_Image9.jpg (http://i29.photobucket.com/albums/c279/CJane_59/Duke/Image9.jpg)

Thanks for those additional photos. I am still not convinced about your theory because this is in my opinion a different glass as than the one the blood drips into.

The gunman actually looks a bit like Alan Ladd and remember the film in which he shoots a bad guy from a loft.

Incidentally how did you get hold of these interesting little photos from Rio Bravo?

:agent:

I put the DVD in my computer DVD player, start the movie in either Nero Showtime or Cyberlink PowerDVD and pause it at the specific frame then use the capture portion of the software. Open the capture in a program like Paint Shop Pro or Adobe Photoshop, then manipulate it or save it under a common image format (jpg, gif, tif, bmp, etc.) and then place the images on an online hosting service. I'm a computer guru, been doing this stuff for 20+ years. All it takes if the right equipment, software and knowledge.

I bet if you took the images and put them in a computer aided design program the angle of the shot wouldn't put him above the bar. There were a lot of mistakes and errors like this in all the westerns. They did what they had to back then, today they call it computer generated.

The best western of the 50's, I just wish that instead of remaking it as El Dorado that they made a sequel with the same cast.

Here's one for Stumpy, Hope you enjoy it....

RzW1-BqYmew

Here's another one for Stumpy.....

aPYCJlFfhW8

gt,

I think more people than Stumpy enjoyed the YouTube clips :hyper: . Those two songs were like the heart of the movie.

Thanks for sharing them!

Chester :newyear:

I purchased the 2 disc special collector edition of Rio Bravo DVD as HMV had an offer and I wanted to see Hawks documentary.

DVD is remastered the colours do look stronger and more vivid.

The Hawks documentary covers his career from Dawn Patrol to Rio Bravo and is about 1 hour in length with clips and discussion about a number of films from older footage of Hawks and directors John Carpenter and Walter Hill supplying input. Red River and Rio Bravo are the only Wayne movies shown.

Other documentaries on the set are making of Rio Bravo featurette which is 40 minutes in length featuring Angie Dickinson, John Carpenter and Walter Hill.

The John Wayne trailers mentioned seems to be just Rio Bravo.

Nice little edition

Mike


Disc 1
Remastered feature film
Commentary by John Carpenter and Richard Schickel (Renowned director Carpenter and film critic Schickel explore how this legendary Western was an extension of Hawks' own personality and why it's considered such an influential classic today)
Wayne trailer gallery
Disc 2
"The Men Who Made the Movies: Howard Hawks" (1973 documentary)
"Commemoration: Howard Hawks' Rio Bravo" featurette
"Old Tucson: Where the Legends Walked" featurette

Here's a terrific article written by Peter Bogdanovich about Howard Hawks and Rio Bravo.

http://www.nyobserver.com/2007/i-m-hard-get-john-t

This is an excellent article about Howard Hawks. I know it's about Rio Bravo and John Wayne but did concern more about Hawks. Excellent article! I really enjoyed it. Hope others read it as well.

http://www.nyobserver.com/files/imagecache/article/files/Bogdanovich-JohnAngie1V.jpg

Cheers :cool:

Great article may2 Thanks for Posting

Mike

It turns out I do have an image of the poster for this film, but it was misnamed on the CD (listed under Rio Lobo, and I even inadvertently posted it in that thread, removing it after someone pointed out the error; but I never got around to posting it here . . . until now :wink_smile:).

2084

This is a real classic, although personally I prefer El Dorado which I thought had a better pace. Also Mitchum and Caan were better actors than Dino and Ricky. I think this might have been improved if Dean Martin had played the romantic lead, because at 51 Duke was clearly too old for Angie.

8/10.

Finnish poster from 1960´s

http://atomiaika.fi/catalog/images/rio-bravo.jpg

etsija,

THANKS for adding even more to this thread (and others), in the form of more posters from another country!

Chester :newyear:

Never realised Harry Carey had a scene filmed for Rio Bravo were he offered his services to John Wayne. Scene was cut from movie. Carey mentions that he accidently called director Howard Hawks "Howard" instead of his customary "Mister Hawks" and that was part of the reason why his scene was cut.

Mike

This is a real classic, although personally I prefer El Dorado which I thought had a better pace. Also Mitchum and Caan were better actors than Dino and Ricky. I think this might have been improved if Dean Martin had played the romantic lead, because at 51 Duke was clearly too old for Angie.

8/10.

Agreed, however Walter Brennan was the ace in the hole for me, which pushes this a bit above El Dorado. It never ceases to amaze me the similarities between these movies, especially the bar showdowns with Dude and Mitchum in their respective roles....

In one scene when Wayne's shirt is wet, the shape is different a few times.

I tried to watch it on AMC today. A commercial break every five to seven minutes. AMC was so much better a few years ago when it didn't run commercials. If Billy Mays yells at me one more time, I'm gonna snap.

In one scene when Wayne's shirt is wet, the shape is different a few times.

I tried to watch it on AMC today. A commercial break every five to seven minutes. AMC was so much better a few years ago when it didn't run commercials. If Billy Mays yells at me one more time, I'm gonna snap.

You are so right about AMC. When they were non commercial like TCM they were much better. But, they sold out and now are just another tv channel. They also had better hosts back then, Nick Clooney(Georges dad) and another guy whose name escapes me.

John Wayne is his best in this movie. If I had to cast the others, I'd stay with Dean Martin, and Walter Brennan. They were great in their parts. I'd like to see Paul Newman play the part of Colorado. This is different, but I can see him play that part well minus the singing, but that can be skipped. The lady would be Elizabeth Taylor. Now that would be a spitfire. The other parts are alright, but the main ones is what I see in this movie.

Cheers :cool: Hondo

I tried to watch it on AMC today. A commercial break every five to seven minutes. AMC was so much better a few years ago when it didn't run commercials. If Billy Mays yells at me one more time, I'm gonna snap.

For a mere $ 8.80 one could avoid those commercials if you were to go here (http://www.amazon.com/s?ie=UTF8&tag=mozilla-20&index=blended&link%5Fcode=qs&field-keywords=Rio%20Bravo&sourceid=Mozilla-search), and add to your collection.

Chester :newyear:

Here's a Japanese pamphlet published 1959.

H.sanada, thank you for sharing this. What else is in the pamphlet?

Chester :newyear:

H.sanada, thank you for sharing this. What else is in the pamphlet?

Chester :newyear:

Hi Chester,
IIn Japan, movie pamphlet is mostly as follows,

Form:thin brouchure with 8-10 Pages
published:movie distributor or special company
main contents:introduce story,review,cast,stuff with pictures
sale:at the theatre on showing this movie

It seems that it corresponds to the one that is called"film brochure"
or"souvenir program" in other countries. and lobby card is almost not exist in Japan.

Regards,
H.sanada

Here are samples of the book and comic book from the movie. Enjoy!

Mark

http://www.dukewayne.com/imagehosting/2147f88512d1305.jpg

http://www.alljohnwayne.com/Comics/Rio%20Bravo%20comic.jpg

Great finds Mark,
thanks for sharing them.

Yes Mark, that comic book is neat, very good picture on the front. Might I ask were you found it? Haven't seen one before.

Chester :newyear:

I'm glad you enjoyed them, Keith and Jim. I'll be putting up a few more in other movie forums soon. I hope you don't mind, Keith. I know the topic is the movie itself, but I feel that the books add to it.
You can find the comics on ebay, Jim. Warning, though...they ain't cheap! :stunned:

Mark

Here's another poster released first in Japan.

http://www.dukewayne.com/imagehosting/10864814190446ee7.jpg

H.sanada

Here's another poster released first in Japan.

Thanks for the great poster. I wish Walter Brennan was on it too, then would be perfect!

Thanks for posting photos Mark & H sanada. Great to see

Mike

I watched Rio Bravo a few weeks ago with my 14 year old grandson.
He is becoming a avid John Wayne fan but the person who he enjoyed
the most in the film was Stumpy. Walter Brennan was one on the greatest
charactor actors.

Walter Brennan was one on the greatest
charactor actors.

Dan,
For further reading, here is our dedicated thread:-

Pals Of The Saddle- Walter Brennan (http://www.dukewayne.com/showthread.php?t=2061)

have just watched this film and absolutely loved it. it had everything a good western should have - loved the mexican music, dean martin singing, the shoot out at the end, and the romance. i thought stumpy was absolutely brilliant as a character (what a hero):teeth_smile: my favourite john wayne film so far

Hi

If you listen closely to the guitar music in the opening shot in the saloon, you will notice it is a case of Tiomkin being lazy. Instead of writing a new piece for the scene he went back to the mid fifties and used the theme music from Blowing Wild Marina Mine.

Regards

Arthur

Came across this:-

Winter 2008 »

The “Duke” and Democracy: On John Wayne
By Charles Taylor


ONE OF THE great joys of the movies is their ability to convince us that we know the people on screen. Even the varied performances of the most versatile stars are often not strong enough to prevail against the overarching image we’ve formed of them. When Joan Didion met John Wayne on the set of the 1965 The Sons of Katie Elder, she wrote of having the sense that his face was more familiar to her than her husband’s.

And yet Wayne, whose centenary occurred this past spring, remains in some ways the most undefined of iconic movie stars. When we say we “know” Humphrey Bogart or Greta Garbo, or George Clooney or Julia Roberts, we’re talking about the intimacy we feel from having watched them at work. But much of what’s “known” of John Wayne depends on ignoring what’s on screen.

To the left, Wayne has always been close to a comic-book version of American power in all its swaggering crudeness. That his screen persona was neither swaggering nor crude hardly mattered. It was easier to think of Wayne as something like the vigilante of the plains—macho, indomitable, always in the right, ordering women and Indians around because that’s the way God planned it.

It’s inevitable that with nearly two hundred pictures to his credit (Wayne’s 1939 breakthrough, John Ford’s Stagecoach was his eightieth movie), some of Wayne’s roles do fit the traditional macho hero mold. But the image that persists of him seems more reinforced by things like his public support of conservative causes, as well as by his directing and starring in the pro-Vietnam War picture The Green Berets. And it’s been reinforced by the fact that Wayne worked primarily in Westerns, the most frequently, and often baselessly, stereotyped of movie genres.

”John Wayne represents more force, more power than anyone else on the screen,” his frequent director Howard Hawks once said. A performer who wields that kind of force, and has a physical presence to match, does not provide nuanced pleasure. But only the crudest reading would reduce the overwhelming force of Wayne’s persona to gung-ho cheerleading for American right and American might. To be true to the contradictions and moral ambiguities of Wayne’s best performances—Stagecoach, Red River, The Searchers, True Grit, El Dorado—you’d have to say he stands not so much for American power as for the American experiment—and thus for the possibility that it could all go wrong.

And in Howard Hawks’s 1959 Rio Bravo, the director’s masterpiece (now out in a beautifully remastered DVD from Warner Bros.), Wayne gave us the richest, most likable, and probably the most daring version of his screen persona. The story, by the veteran screenwriters Leigh Brackett and Jules Furthman, couldn’t be simpler. Joe Burdett, the youngest brother of ruthless power broker Nathan Burdett, kills an unarmed man in cold blood. Sheriff John T. Chance (Wayne) arrests Joe, intending to hold him in the local jail for the six days it will take the marshall to arrive and transport Joe to trial. Burdett, rich enough to believe the law doesn’t apply to him, orders his men to bottle up the town. His plan is to bust Joe out and kill anyone who stands in their way. Chance’s only help comes from his two deputies, the once-capable Dude (Dean Martin), who’s been in a heartbroken alcoholic stupor for two years, and the elderly, crippled Stumpy (Walter Brennan), swindled out of his land by Burdett years ago.

The inspiration for Rio Bravo came from perhaps the most praised of Westerns, Fred Zinnemann’s 1952 High Noon. High-Minded Noon it might have been called. Existing for no other reason than to impart a lesson in good citizenship, High Noon was a transparent metaphor for the failure of Americans to stand up to Joe McCarthy. Hawks hated it. Narratively, Hawks felt it made no sense for Gary Cooper’s sheriff to spend the movie soliciting the townspeople’s help to fend off the killers coming for him only to prove, in the end, that he didn’t need help. Hawks was offended by the idea that a sheriff would endanger the lives of the people he was meant to protect by trying to recruit them to save his skin.

So Hawks made a movie in which Wayne’s sheriff turns down the help offered him, and needs it at every turn. In other words, it was another of Hawks’s celebrations of the sustaining communities that are at the heart of his best films. Over and over, Hawks tells the stories of disparate individuals who, by necessity or fluke, drift together into groups that meld their professional and personal lives. The ad hoc communities of Only Angels Have Wings, To Have and Have Not, The Thing . . . From Another World, Hatari!, and El Dorado are held together by an unspoken ethos that values competence, confidence, resourcefulness, respect and self-respect, stern generosity, shared good humor, empathy, and the ability to recognize and appreciate those qualities in others. Human frailty (Dean Martin’s alcoholism in Rio Bravo; Walter Brennan’s in To Have and Have Not) is acknowledged but never judged to be the sum of a person’s character. Women are assumed to be every bit as capable as men. Hawks recognized the differences between responsibility and duty, sympathy and pity, honesty and cruelty, individualism and selfishness.

None of this is conveyed in the speeches or grand gestures common to prestige pictures.. Instead these values are conveyed in the smallest moments. The dramatic weight in Rio Bravo is reserved for the moments when the characters’ faith in each other, or in themselves, is tested. The suspense of the sequence where Dude and Chance follow a killer into Burdett’s saloon doesn’t come from whether or not they’ll get him, but from whether Dude is going to be able to recover his confidence enough to keep in charge of the situation. Each incident flows so unobtrusively into the next that you’re scarcely aware of structure, but so delighted by the supreme relaxation of the performers (particularly Martin, who’s superb) that you’re never bored.

GIVEN THE traditional solitary nature of the Western hero, Wayne would seem to be the wrong choice for a Western that celebrates community. And in our first glimpse of Wayne, a low-angle shot, he literally towers over us. The point of view is Dude’s. Broke and in bad need of a drink, he slinks into a saloon where Joe Burdett cruelly tosses a gold piece into a spittoon. Dude stoops down to fish it out only for a boot to kick the spittoon away from him. Looking up, Dude sees Chance, whose stern face conveys both disgust that anyone could sink so low and the conviction that no one need do so.

A conventional director might have followed through with Dude steadying himself, rising to his feet, and walking out of the bar, still dry but with his remaining dignity intact. Hawks, the iconoclast, gives us something more unexpected, and truer to the desperation born of weakness: Dude waiting for Chance to turn his back before clubbing him unconscious.

That action undercuts any potential for the scene to turn into Dude’s sentimental redemption. But just a few moments later, proving Chance’s implicit admonition that he can pull himself up from the depths, Dude saves Chance’s life when the Burdett men have the sheriff surrounded.

Chance is the heroic figure whose self-sufficiency inspires the others to rise above their shortcomings. But because this is a celebration of democracy, the result isn’t a race of isolated heroes but a community in which the strength of each individual buoys up everyone else. Even Chance, the strongest person in the movie, can’t do without those people. “You start,” Hawks said of casting the movie, “with the idea that if you don’t get a damn good actor with Wayne, he’s going to blow him right off the screen, not just by the fact that he’s good, but by his power, his strength.” Hawks’s faith in the cast he assembled here mirrors Chance’s faith in his comrades. He may inspire them to rise to their feet, as he does with Dude, but each one is finally capable of standing alongside him.

PART OF THE beauty of Wayne’s performance here is the way, even when Chance is refusing help, he never undervalues others. When Chance’s friend, the cattleman Wheeler (the inevitable Ward Bond), derides his deputies by asking, “A bum-legged old man and a drunk—that’s all you’ve got?” Chance answers, “That’s what I’ve got.” It’s the single best line reading of Wayne’s career. There’s a world of respect in the weight he puts on that one word, “what,” an irreducible sense of people’s worth as individuals. Bill Clinton might have been instinctively paraphrasing Wayne with the phrase he kept repeating during his 1992 campaign, “We don’t have a person to waste.”

By contrast, when Dude finds a fifty-dollar gold piece on one of Nathan Burdett’s hired killers he says, “That’s just about what Burdett would figure a man’s life would be worth.” Rio Bravo pits Chance’s refusal to discount people against the cynical appraisal of the Nathan Burdetts of the world.

“When you’ve got some talent, your job is to use it,” Hawks said. He was answering the people who’d criticized him for giving Ricky Nelson a song in the film. But he could have been articulating his own delight in the people he gathers in front of his camera, his respect for them as individuals. And that’s the key to the profound inclusiveness of Rio Bravo. The characters who save Chance’s life—not just a bum-legged old man and a drunk, but Nelson’s teenage gunslinger, and Feathers, an independent woman who lives her life as she chooses, played by Angie Dickinson—are all discounted by a society that sees what they are without bothering to find out who they are.

And Hawks pushes that even further, undercutting Chance, the authority figure who is valued for what he is, by making him prone to harried misjudgments. That’s most apparent in Wayne’s scenes with Angie Dickinson, an extended comic duet in which she gets under his skin just by smiling sweetly in the manner of a woman more amused than impressed by his bluster. In one remarkable sequence a card game in which Feathers is winning turns out to be rigged, and Chance accuses her of being the cheat. He’s wrong. The only evidence he has to go on is a handbill sent out by a sheriff describing a woman who sounds like Feathers and the card sharp she travels with. It turns out that Feathers is the man’s widow, and he became a cheat only after falling on hard times. She’s on the up and up, but this handbill follows her from town to town, making trouble. When she asks Chance what she can do about that, he tells her to stop playing cards and to stop wearing feathers. “No,” she says. “I’m not going to do that. Because that’s what I’d do if I was the type of girl you think I am.” And, true to his better nature, as well as to Hawks’s faith in people to get past their shortsightedness, Chance is chastened.

Hawks would offer another celebration of the group three years later in his rambling African adventure Hatari! And in 1967 he’d rework the main elements of Rio Bravo into El Dorado, a raucous and grimly comic Western about the decrepitude of age. If the frequent sequences where the screen is bordered in black and James Caan reciting Poe’s line “Down the valley of the shadow” weren’t unsettling enough, there was Wayne, a few years after winning his initial battle against cancer, once more undercutting the image of the invincible hero by playing scenes in which he seizes up and becomes paralyzed—as if we were watching him suffer a stroke.

But it’s Rio Bravo that remains Hawks’s deepest expression of his delight in people, and his warmest, most casual vision of the ordinary and profound ways they lift each other up. Rio Bravo rejects the notion that there are people who can be thrown away. When the film critic Robin Wood was writing about the movie, he said, “If I were asked to choose a film that would justify the existence of Hollywood, I think it would be Rio Bravo.” Let me offer my own overstatement: If I were asked to choose a film that would justify the idea of America, it would be Rio Bravo.



Charles Taylor is a columnist for the Newark Star-Ledger and a contributor to the New York Times, Newsday, the New York Observer, the Nation, and other publications.

Good post EE.

It's one of my favourite Western (and John Wayne Movie!) and I love it more and more. When I was younger I always prefered El Dorado over Rio Bravo but with the time I like Rio Bravo more. Dean Martin has one of his best performances in his career and who could forget Walter Brennan as Stumpy? I enjoy all the scenes which shows the comradship between Stumpy, Dude, J.T. Chance and Colorado. Something I also appreciate is the Music Dean Martin and Ricki Nelson are singing My Rifle, My Pony and me. I'm not a fan of singing in western but this one never disturbed me. It's a wonderful light moment. Watched Rio Bravo recently and I still have the beautiful mexican trumpet score in my ears.

Thanks to Howard Hawks, Duke and all the others involved in this wonderful piece of entertainment. When I'm writing about Rio Bravo I'm thinking to put the DVD in the player and watch it again.:hyper:

The latest "American Cowboy" magazine has a article on Rio Bravo and if it merits as the best western ever made. Nice photo of Duke on the cover and good article.

I agree that "Rio Bravo" is the best western ever made. I too used to like "El Dorado" when I was a kid but as I got older "Rio Bravo"
became my favorite. The combo of the Duke, Dean, and brennon
were fantastic. My fifteen old grandson likes it the best as well.
He thinks the Duke is the best. He and I have watched the Duke's movies together since he was a little kid.

This movie is my favorite Duke western. I never saw this movie until I received it in the mail from Time Live Video Collection of John Wayne in 1990. I was so excited when I open the box and saw Rio Bravo as my first Duke movie. This was so exciting to see Duke and this great cast taking place in the old west.

It doesn't surprise me that it is Amercia's favorite western. I can relate to Duke characters, and the no nonsense that he playes in this movie. I must say that I may be watching this movie very soon on my DVD copy. I do still have the VHS prerecorded that I received back in 1990 (almost 20 years ago). I should rid myself of these movies, but it is my first collection of John Wayne. Not easy to say good-bye.

Everyone who is a true Duke fan must see this movie, and should be one of their favorites.

Cheers :cool: Hondo Duke Lane

I agree with all of you. I just watched my "special" edition copy last night. I love the movie. I am trying to find it on Blu-Ray high def. I picked up the Blu-Ray version of "The Searchers" at Sam's Club for $10 a couple weeks ago. "Rio Bravo" seems to be tougher to find on Blu-Ray at a decent price.

The Searchers is a beautiful film on regular DVD. I bet it was amazing on Blue Ray. Someday, I'll have to make that jump and upgrade. Sadly, now is not the time.

The Searchers is a beautiful film on regular DVD. I bet it was amazing on Blue Ray. Someday, I'll have to make that jump and upgrade. Sadly, now is not the time.

You are right on the money, the Blu-Ray version of "The Searchers" is great looking. I am kind of a tight ass at times so I am holding out and waiting to find Rio Bravo Blu-Ray cheap. I will find it, but it might take sometime.

Todd,

I don't have Blu-ray, but know where there is a copy of Rio Bravo. It happens to be at a video store in town (my home).

Say the word and I'll get it for you. Other wise you might want to get it from DeepDiscount.com.

Cheers :cool: Hondo

Todd,

I don't have Blu-ray, but know where there is a copy of Rio Bravo. It happens to be at a video store in town (my home).

Say the word and I'll get it for you. Other wise you might want to get it from DeepDiscount.com.

Cheers :cool: Hondo

Mike, I have the special edition of Rio Bravo. I am just looking for the Blu-Ray version at a price around $10-$15. Thanks anyways.

Mike, I have the special edition of Rio Bravo. I am just looking for the Blu-Ray version at a price around $10-$15. Thanks anyways.


Hey Todd,

That is a price I don't have. It's more like $20 here.

Cheers :cool:

Hey Todd,

That is a price I don't have. It's more like $20 here.

Cheers :cool:

Thanks, I figured if I can get "The Searchers" for $11 then I should be able to snag Rio Bravo for the same price.

The Rio Bravo Dell comic book is illustrated by the late Alex Toth, a great fan favourite. He also did Wings of Eagles. He could do a superb likeness of John Wayne but the irony was that he wasn't allowed (for copyright reasons) to do an accurate likeness of the Duke, or the other leads (Walter Brennan has a big droopy mustache in the comic)
Possibly this is because John Wayne also had his own comic published by Toby Press and his drawn likeness was possibly licensed exclusively to them. I'd like to know more if anybody out there can help??
There were John Wayne Annuals published every year in the UK, a great Christmas present to get!

http://online.wsj.com/article/SB123802062186941663.html

'Rio Bravo,' Still Popular and Hip at 50


It wasn't nominated for any Academy Awards. It was scarcely taken seriously by the critics on its release, and it's never made into the American Film Institute's top 100. But Howard Hawks's "Rio Bravo," which had its premiere half a century ago this month, may be the most popular cult film ever made.
The phrase "cult favorite" conjures up images of wobbly hand-held camera shots and little-known actors. But "Rio Bravo" was shot in glorious Technicolor and starred perhaps the most popular star in movie history. Most cult films are too hip to be popular, and most big hits are too popular to be hip. But "Rio Bravo" is that rarest of films -- both popular and hip.
http://s.wsj.net/public/resources/images/ED-AJ224_bravo_DV_20090325120023.jpg Getty Images John Wayne, Ricky Nelson and Angie Dickinson in a scene from the film "Rio Bravo."



French director Jean-Luc Godard called "Rio Bravo" "a work of extraordinary psychological insight and aesthetic perception." British film critic Robin Wood wrote, "If I were asked to choose a film that would justify the existence of Hollywood, I think it would be 'Rio Bravo.'" Quentin Tarantino, whose "Pulp Fiction" was also both popular and hip, told an audience at a 2007 Cannes screening of "Rio Bravo" that he always tested a new girlfriend "by taking her to see 'Rio Bravo' -- and she'd better like it!"
Why has a simple western with an unremarkable plot become such an enduring favorite? The story is simplicity itself: A small-town sheriff, John T. Chance (played by John Wayne), holes up in his jail with just two highly questionable deputies, an old jail keeper named Stumpy (Walter Brennan) and an alcoholic gunfighter named Dude (Dean Martin), while waiting for the marshal to relieve him of a murderous prisoner who happens to be the brother of a powerful rancher (John Russell). That's about it -- there aren't really any side plots except for a slowly developing romance between Chance and Feathers (Angie Dickinson), a dance-hall girl at the local saloon (the role made Ms. Dickinson a star).
This hardly seems the stuff from which legendary films are made. In fact, it seems more like a hodgepodge of elements from many westerns, which is exactly what The New Yorker's Pauline Kael liked about it. "A semi-satiric Western," she called it in "5001 Nights at the Movies," "silly, but with zest."
Todd McCarthy, author of "Howard Hawks: The Grey Fox of Hollywood," says: "'Rio Bravo' isn't, as many people refer to it, a 'classic western' -- it's more like a Neo-classic. It came at the end of an era of great westerns at a time when both Wayne and Hawks needed a hit. They were both happy to recycle elements from earlier pictures, even their own." And they would do so again in 1967, when they remade "Rio Bravo" as "El Dorado," with Robert Mitchum as an alcoholic sheriff and Wayne as his deputy. (The confusion over who starred in which movie made for a very funny sequence in the John Travolta hit "Get Shorty.") In 1976, John Carpenter took the basic story line from both films and remade it as a crime thriller, "Assault on Precinct 13."
"Rio Bravo" was designed as an Alamo story in which the besieged Texans win. In case viewers don't get the message, the hotel Wayne's sheriff lives in is called "The Alamo," and the outlaw boss hires a Mexican trumpeter to play "El Deguello," supposedly the song that Santa Anna had played for the Alamo's garrison. (Actually, the piece was written by the film's composer, Dimitri Tiomkin, and Wayne liked it so much that he used it in his 1960 film called "The Alamo.")
Tiomkin's music both heightens the tension and relieves it. While the film moves at its own leisurely pace -- at 140 minutes it was longer than most '40s and '50s westerns -- the suspense is sometimes broken for a song. In one sequence, the action stops -- literally -- while Martin and teen idol Ricky Nelson croon "My Rifle, My Pony and Me," a reworking by Tiomkin of his famous theme from Hawks's great 1948 film "Red River." No action movie today would risk anything so daring.
Well known to every "Rio Bravo" aficionado is that it was an intentional response to Fred Zinnemann's 1952 "High Noon," a film that Wayne loathed because it was written by Carl Foreman, who took the Fifth Amendment before the House Un-American Activities Committee while "High Noon" was being shot. Foreman, who was later blacklisted, admitted that he wrote scenes in his film to make sure the audience knew he was protesting HUAC. Hawks later said in an interview, "I didn't think a good sheriff was going to go running around town like a chicken with his head off asking for help. . . . We did everything the exact opposite of what annoyed me in 'High Noon.'"
But as Bob Boze Bell, executive editor of True West magazine, notes, too much was made of the differences between "High Noon" and "Rio Bravo." Gary Cooper's sheriff confronts the four outlaws with no one but Grace Kelly to help, while Wayne takes on a couple of dozen with Brennan and Martin, the deputies he started out with, and Nelson, who's only there to get revenge after a friend of his is killed. The odds are about the same for the good guys in both films.
Mr. Bell also notes that the two films are similar in that they perpetuate the myth that a handful of gunmen could simply take over a town without resistance. "When Jesse James and his gang rode into Northfield, Minn., in 1876 to rob the bank, just about every citizen in town reached for a gun and opened fire. That was the case more often than not in the Old West."
Still, two generations of fans have loved "Rio Bravo" without caring at all about its political implications. "Is there a film from the fifties so free from strain, or one in which the drift of song is there all the time," the film critic David Thomson asks rhetorically in his recent book "Have You Seen ...?" Fifty years later, the melody lingers on.

Thanks for that, May. "Rio Bravo" is, and has been for many years, my favorite John Wayne film.

Thanks for sharing that article, May. It was an enjoyable read. And the film is so enjoyable, I hadn't actually noticed that it was over 2 hours long.

Mark

Wow! Who'd have thought to see such an article in the Wall Street Journal? A most enjoyable read; I had never made the connection between the music of Rio Bravo and The Alamo!

Thanks, May!

Mrs. C :angel1:

Hi
Tiomkin must have been in a lazy mood when he scored Ri Bravo, besides My Rifle My Pony and Me he also took the theme from Blowing Wild (Marina Mine) in the opening scene in the saloon when all you hear is the guitar.

Regards

Arthur

Wow! Who'd have thought to see such an article in the Wall Street Journal? A most enjoyable read; I had never made the connection between the music of Rio Bravo and The Alamo!

Thanks, May!

Mrs. C :angel1:

I knew about the connection and also the other one,
the saloon in Rio Bravo, I think is called 'The Alamo'

He wrote some Great Music for the Films !
:teeth_smile:
Chilibill
:cowboy:

Having a collection of 98 of his films on VHS and 108 of them on DVD, going to Blu Ray is going to wait. That was a very good and enjoyable article from the Wall Street Journal, thanks very much for the link and the read. No wonder Rio Bravo made this site's number one favorite list in this it's 50th year.

The song from Red River, Settle Down by Dimitri T, sounds very similar to the song Dude sings before Colorado sings his song in the jailhouse.

Hello All
I have an idea that this film is going to look pretty amazing to anyone who makes it down to Winterset Iowa this year. First indoors on Friday night then outdoors on Saturday night. What is that little town going to be like when its chock-er block full of John Wayne fans. Kind of makes you wonder what you might be missing don't it ? (ot) take care

I love this movie, but I can't watch it without obsessing on the continuity problems every time Duke goes from indoors to outdoors. His hat is always different! There's a lot of walking through doors in this movie, and the front rim of his hat always goes from bent upwards to straight, or vice-versa. Now everyone will notice it! Sorry!

I love this movie, but I can't watch it without obsessing on the continuity problems every time Duke goes from indoors to outdoors. His hat is always different! There's a lot of walking through doors in this movie, and the front rim of his hat always goes from bent upwards to straight, or vice-versa. Now everyone will notice it! Sorry!

Interesting, I never noticed that before. Will haveto check it out.

There are alot of movies that I watch over and over again and after awhile I notice little things that are out of place. Just try to remember what it was that endured you to the movie in the first place and forget about the little goofy things.

Roger Ebert on Rio Bravo.

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20090715/REVIEWS08/907159989

http://rogerebert.suntimes.com/apps/pbcsi.dll/bilde?Site=EB&Date=20090715&Category=REVIEWS08&ArtNo=907159989&Ref=AR&Maxw=438
John Wayne, Ricky Nelson and Angie Dickinson in "Rio Bravo."


Rio Bravo (1959)


/ / / July 15, 2009





by Roger Ebert

Howard Hawks (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Howard%20Hawks&Class=%25&FromDate=19150101&ToDate=20091231) didn’t direct a film for four years after the failure of his "Land of the Pharaohs" in 1955. He thought maybe he had lost it. When he came back to work on "Rio Bravo" in 1958, he was 62 years old, would be working on his 41st film and was so nervous on the first day of shooting that he stood behind a set and vomited. Then he walked out and directed a masterpiece.
To watch "Rio Bravo" is to see a master craftsman at work. The film is seamless. There is not a shot that is wrong. It is uncommonly absorbing, and the 141-minute running time flows past like running water. It contains one of John Wayne’s best performances. It has surprisingly warm romantic chemistry between Wayne and Angie Dickinson (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Angie%20Dickinson&Class=%25&FromDate=19150101&ToDate=20091231). Dean Martin (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Dean%20Martin&Class=%25&FromDate=19150101&ToDate=20091231) is touching. Ricky Nelson, then a rival of Elvis’ and with a pompadour that would have been laughed out of the Old West, improbably works in the role of a kid gunslinger. Old Walter Brennan (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Walter%20Brennan&Class=%25&FromDate=19150101&ToDate=20091231), as the peg-legged deputy, provides comic support that never oversteps.

Wayne and the other men and the gambling lady inhabit a town that is populous and even crowded, but not a single citizen, except for an early victim, a friendly hotel owner and his wife and of course the villain, ever says a word to them. The shadows are filled with hired killers with $50 gold pieces in their pockets — "the price of a human life." All that buys Wayne and his deputies a stay of execution is the prisoner they precariously hold as a hostage. In a film with suspenseful standoffs and looming peril, even a scene where Wayne and Martin walk down Main Street after nightfall is frightening.

The story situation was fashioned by Jules Furthman and Leigh Brackett, two veterans who wrote Hawks’ great film "The Big Sleep (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=REVIEWS01&TITLESearch=The%20Big%20Sleep&ToDate=20091231)" in 1946. It centers on four men holed up inside a sheriff’s office: a seasoned lawman, a drunk, an old coot and a kid. This formula would prove so resilient that Hawks would remake it in "El Dorado (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=REVIEWS01&TITLESearch=El%20Dorado&ToDate=20091231)" (1966), John Carpenter (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=John%20Carpenter&Class=%25&FromDate=19150101&ToDate=20091231) would remake it as "Assault on Precinct 13 (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=REVIEWS01&TITLESearch=Assault%20on%20Precinct%2013&ToDate=20091231)" (1976) and directors from Scorsese to Tarantino to Stone would directly reference it. It is a Western with all of the artifice of the genre, but the characters and their connections take on a curious reality; within this closed system, their relationships have a psychological plausibility.
http://rogerebert.suntimes.com/apps/pbcsi.dll/bilde?Site=EB&Date=20090715&Category=REVIEWS08&ArtNo=907159989&Ref=V3&maxw=200 (http://javascript<b></b>:NewWindow(550,500,'/apps/pbcs.dll/misc?url=/templates/zoom.pbs&Site=EB&Date=20090715&Category=REVIEWS08&ArtNo=907159989&Ref=V3&template=zoom');)
Hawks and Angie Dickinson on the set.


Wayne, as Sheriff John T. Chance, plays what he himself called "the John Wayne (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=John%20Wayne&Class=%25&FromDate=19150101&ToDate=20091231) role." He even wears the same hat, now battered and torn, that he had worn in Westerns ever since John Ford’s "Stagecoach" (1939). Yet here he calls upon the role and his own history to bring nuance and depth to the character. Grumpy old Ford, seeing the film, told Hawks, "I never knew the big son of a bitch could act."

Wayne is effective above all when he simply stands and regards people. "I don’t act, I react," he liked to say, and here you see what he meant. His Chance doesn’t feel it necessary to impose himself, apart from the formidable fact of his presence. He never sweet-talks Feathers (Dickinson), indeed tends to be gruff toward her, but his eyes and body language speak for him. There is a moment when he is angered that she didn’t get on the stage out of town, stalks upstairs to her hotel room, barges through the door and then — in the reverse shot — sees her and transforms his whole demeanor. Can you say a man "softens" simply by the way he holds himself? With the most subtle of body movements, he unwinds into the faintest beginning of a courtly bow. You don’t see it. You feel it.

Dickinson was 27, looked younger, when she made the film — her first significant feature role after bit parts and TV. Wayne was 51. No matter. They fit together. They liked each other. They make this palpable without throwing themselves at each other. If you will go to chapter 21 of the DVD, you will see a romantic scene so sweet and unexpected, it may make you hold your breath. Dickinson absolutely holds the screen against the big man. Her carriage and deep, rich voice project a sense of who she is — not a saloon floozy but a competent professional gambler accustomed to sparring with men.
http://rogerebert.suntimes.com/apps/pbcsi.dll/bilde?Site=EB&Date=20090715&Category=REVIEWS08&ArtNo=907159989&Ref=V4&maxw=200 (http://javascript<b></b>:NewWindow(550,500,'/apps/pbcs.dll/misc?url=/templates/zoom.pbs&Site=EB&Date=20090715&Category=REVIEWS08&ArtNo=907159989&Ref=V4&template=zoom');)


She was the type of woman Hawks liked, and returned to time and again: Lauren Bacall (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Lauren%20Bacall&Class=%25&FromDate=19150101&ToDate=20091231), Katharine Hepburn (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Katharine%20Hepburn&Class=%25&FromDate=19150101&ToDate=20091231), Carole Lombard (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Carole%20Lombard&Class=%25&FromDate=19150101&ToDate=20091231), Jean Arthur (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Jean%20Arthur&Class=%25&FromDate=19150101&ToDate=20091231), Rosalind Russell (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Rosalind%20Russell&Class=%25&FromDate=19150101&ToDate=20091231), indeed the future studio executive Sherry Lansing. He loved to use again what had worked for him earlier; when Dickinson asks Wayne to kiss her a second time, because "it’s even better when two people do it," there’s an echo of Bacall in "To Have and Have Not," telling Bogart, "It’s even better when you help." Peter Bogdanovich (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=Peter%20Bogdanovich&Class=%25&FromDate=19150101&ToDate=20091231) notices this in a supplement on the DVD and praises the long opening sequence in "Rio Bravo," which runs, he says, five minutes without dialogue. And no wonder: Hawks used the business of a coin thrown into a spittoon in the silent film "Underworld (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=REVIEWS01&TITLESearch=Underworld&ToDate=20091231)" (1927), for which he wrote the scenario. And where might Hawks have found inspiration for the scene where Wayne lifts Dickinson in his arms and carries her upstairs?

Much of the strength of the Chance character comes from the way he holds himself in reserve, not feeling the need to comment on everything. His delicate relationship with Dean Martin’s alcoholic character Dude involves a minimum of lectures and a lot of simply waiting to see what Dude will do. When Dude and old Stumpy (Brennan) get in a loud argument, Hawks holds Chance in center background, observing, not interfering. Chance is always the unspoken source of authority, the audience the others hope to impress.

The score by Dimitri Tiomkin evokes a frontier spirit when it wants to but also helps deepen the film, which rarely for a Western marks the passage of days with sunsets and sunrises, and makes the town streets seem lonely and exposed. There is also the introduction of a theme known to the Mexicans as "The Cutthroat Song," which the villain Burdette (John Russell (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=John%20Russell&Class=%25&FromDate=19150101&ToDate=20091231)) orders the band to play. Chance reads it as a message: "No quarter taken." The song haunts the film.
http://rogerebert.suntimes.com/apps/pbcsi.dll/bilde?Site=EB&Date=20090715&Category=REVIEWS08&ArtNo=907159989&Ref=V5&maxw=200 (http://javascript<b></b>:NewWindow(550,500,'/apps/pbcs.dll/misc?url=/templates/zoom.pbs&Site=EB&Date=20090715&Category=REVIEWS08&ArtNo=907159989&Ref=V5&template=zoom');)
John Wayne's "Stagecoach" hat.


There is another use of music that some will question. In a lull in the action, the men relax inside the barricaded sheriff’s office, and Martin, resting on his back with his hat shielding his eyes, begins to sing about a cowboy’s loneliness. Nelson picks up his guitar and accompanies him. Then Ricky sings an uptempo song of his own, with Martin and even Brennan in harmony. Does this scene feel airlifted in? Maybe, but I wouldn’t do without it. Martin and Nelson were two of the most popular singers of the time, and the interlude functions well as an affectionate reprise for the men before the final showdown. Needless to say, Sheriff Chance doesn’t sing along.

The brave sheriff takes a stand against the outlaws who threaten a town. It is a familiar Western situation, which may remind you of "High Noon" (1952). In 1972, I interviewed Wayne on the set of his "Cahill, U.S. Marshal" in Durango, Mexico. "High Noon" came up, as it will when Westerns are being discussed.

"What a piece of you-know-what that was," he told me. "I think it was popular because of the music. Think about it this way. Here’s a town full of people who have ridden in covered wagons all the way across the plains, fightin’ off Indians and drought and wild animals in order to settle down and make themselves a homestead. And then when three no-good bad guys walk into town and the marshal asks for a little help, everybody in town gets shy. If I’d been the marshal, I would have been so goddamned disgusted with those chicken-livered yellow sons of bitches that I would have just taken my wife and saddled up and rode out of there."

may, you have done it again! GREAT article - thanks for sharing!

Chester :newyear:

May has represented a glimpse into the mindset of the man. I'm grateful.

Wayne, as Sheriff John T. Chance, plays what he himself called "the John Wayne (http://rogerebert.suntimes.com/apps/pbcs.dll/classifieds?category=search1&SearchType=1&q=John%20Wayne&Class=%25&FromDate=19150101&ToDate=20091231) role." He even wears the same hat, now battered and torn, that he had worn in Westerns ever since John Ford’s "Stagecoach" (1939). Yet here he calls upon the role and his own history to bring nuance and depth to the character. Grumpy old Ford, seeing the film, told Hawks, "I never knew the big son of a bitch could act."


I think the above statement is incorrect, I believe Ford made the statement after watching John Waynes towering performance in "Red River".

:agent:

It really does not mean too much now, but when John Ford was still alive, when ask Who was the Best Actor in Hollywood, He would always say,
John Wayne !
:teeth_smile:
Chilibill
:cowboy:

Based on the number of top ten polls that JW was in the top ten, or even the number one actor, I would have to agree with Ford. Even 30 years after his death and not making a movie he still is in the top ten. That's a superstar.

This film was a John Wayne Film all The Way !
:wink_smile:
Some Funny Times, Action, Love and Bad Guys !!
:sad:
How Can You Beat
==============
John Wayne
Dean Martin
Walter Brennan
Ricky Nelson
Angie Dickinson
:teeth_smile:
Chilibill
:cowboy:

great film, the casting was perfect, and Angie is not to tough to look at!!!!

I always felt that Hawks made a bad decision in the opening sequences. The way it exists, the theme and titles play on Wheeler's wagon train moving through the desert. Then the film continues with the nighttime silent sequence culminating in Chance bashing in Burdett's head. Cut to the daytime funeral of Bing Russell, Dude in the street and Wheeler arriving.
It makes more sense to me to open with the silent sequence, then cutting to the titles and Wheeler's arrival in town. It flows better that way but I think Hawks was too leery of beginning the film in such an unorthodox manner.


We deal in lead, friend.

About 70 minutes into the film, just after the Mexican band in the saloon starts playing their haunting tune, the scene cuts to the sheriff's office where Duke is sitting and his left foot is keeping time with the tempo of the tune. And then Stumpy starts playing along with his mouth
organ.

I noticed from the bit with his left foot keeping time that what looks like a large paper clip is in the turn-up of his trousers. It looks as if it is keeping the turn-up tidy.

Anyone else noticed this?

Bob

Robbie is right - the Ebert article is incorrect. Ford made that statement after seeing Duke in Red River.

excellent article and great movie. I would disagree with ford on the best actor, i would say marion morrison was best as John Wayne.

Bud Boetticher reported that on the set of Rio Bravo, Wayne was doing a scene in a saloon with Claude Akins who said his line "So what are you gonna do now?". Wayne answered without missing a beat "Well, the first thing I'm gonna do is change the tone of my voice if all of you a--holes are going to talk like me". Apparently, the other actors were emulating Duke without knowing so.


We deal in lead, friend.

That's TOO funny!!

This would have been a great film,if the role of Dickinson had been left out.
I feel she ruined this one.Talk about overacting!!
If it was left with the charactors of Wayne,Martin and Brennan,it would have been great.
And if Bonds charactor hadn't been killed off.

i agree with the angie dickinson part,and i also would have a different actor like john agar to play the ricky nelson part as i feel he was the weak link in the movie.ward bond's part should not have been killed off so early in the movie.

Laramie, you know WHY Bond's character was killed off, right? He was trying to help Duke, and paid for it with his life...

As for Angie Dickinson, her character was central to the plot as the "love interest" to Duke, and as some necesarry "eye candy" for the movie-going public!

If you know Howark Hawks, you know a cute female will be in his movies!!

Rick Nelson was weak in this role. Too bad they didn't use Steve McQueen as Colorado. On the other hand I wouldn't want to hear Steve sing with Dean Martin under any circumstances.


We deal in lead, friend.

I have updated the Trivia and Goofs sections of the review.
Ward Bond was mentioned in the previous posts
as being killed off too soon!
Ward was committed to his series Wagon Train,
and therefore moved quickly from this movie, not even filming his death scene!

John Wayne and Ward Bond's 22nd and final movie together.

Ward Bond's death scene was filmed from a distance because it was actually a double.
Bond had already left the set to be back on location for "Wagon Train" (1957).

I get the point, but whether Ward had to leave for Wagon Train filming or not, he was GOING to be killed off at that point in the film, or soon thereafter!!

The reason Ricky Nelson was picked is well-documented, as he was a big hit with "teenie boppers," and (along with the success of Dean Martin) this was a sure way to get more of a cross section of folks that might not normally go to a John Wayne movie. He did this for several films.

This is why Duke's lineage as the highest grossing movie star of all time (Clint Eastwood being a DISTANT 2nd) will stand FOREVER. He was very estute as a businessman, and knew how to promote himself and his image to his best advantage.

And...even though I have issues with A LOT of the things Michael Wayne did in his role as head of Batjac, and also how he tended to act sometimes as a person (see some of my other posts for clarification), he was DEVOTED to all things John Wayne, and making sure no one - even family - did anything to tarnish that name. And for THAT, you HAVE to admire him...

My favorite youtube video for today:

http://www.youtube.com/watch?v=BLxBBl1a0JU&feature=related

My favorite youtube video for today:

http://www.youtube.com/watch?v=BLxBBl1a0JU&feature=related

Paula we have this already please see:-
You Tube-Dude (http://www.dukewayne.com/showthread.php?t=3385)

Sorry Keith... I did a search but didn't come up with anything, so I thought I'd post the link.

http://i67.servimg.com/u/f67/11/97/59/03/rio_br14.jpg (http://www.servimg.com/image_preview.php?i=6408&u=11975903)


Le 12 avril 1959
http://i67.servimg.com/u/f67/11/97/59/03/a_duk125.jpg (http://www.servimg.com/image_preview.php?i=6992&u=11975903)


http://i27.servimg.com/u/f27/11/97/59/03/duke_299.jpg (http://www.servimg.com/image_preview.php?i=5232&u=11975903)

http://i27.servimg.com/u/f27/11/97/59/03/duke_300.jpg (http://www.servimg.com/image_preview.php?i=5233&u=11975903)

http://i67.servimg.com/u/f67/11/97/59/03/duke_116.jpg (http://www.servimg.com/image_preview.php?i=4187&u=11975903)

http://i67.servimg.com/u/f67/11/97/59/03/wayne829.jpg (http://www.servimg.com/image_preview.php?i=3284&amp;u=11975903)


http://i67.servimg.com/u/f67/11/97/59/03/wayne803.jpg (http://www.servimg.com/image_preview.php?i=3258&amp;u=11975903)

http://i67.servimg.com/u/f67/11/97/59/03/wayne804.jpg (http://www.servimg.com/image_preview.php?i=3259&amp;u=11975903)

http://i27.servimg.com/u/f27/11/97/59/03/a_duk103.jpg (http://www.servimg.com/image_preview.php?i=7834&u=11975903)

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http://i27.servimg.com/u/f27/11/97/59/03/th/a_duk135.jpg (http://www.servimg.com/image_preview.php?i=7866&u=11975903) http://i27.servimg.com/u/f27/11/97/59/03/th/a_duk133.jpg (http://www.servimg.com/image_preview.php?i=7864&u=11975903)http://i27.servimg.com/u/f27/11/97/59/03/th/a_duk134.jpg (http://www.servimg.com/image_preview.php?i=7865&u=11975903)

http://i47.servimg.com/u/f47/11/97/59/03/a_duk129.jpg (http://www.servimg.com/image_preview.php?i=8521&u=11975903)

http://i47.servimg.com/u/f47/11/97/59/03/a_duk377.jpg (http://www.servimg.com/image_preview.php?i=8792&u=11975903)