Rio Bravo

riobravoposterMore often than not, the movies you watched and loved as a kid stick with you. Case in point, my love of John Wayne movies. I started with The Alamo and never looked back. One of my favorites and hopefully always will be, 1959’s Rio Bravo is one of the best Duke westerns ever, and on a bigger scale, one of the best westerns ever. Simple as that.

In the border town of Rio Bravo, a man named Joe Burdette (Claude Akins) has brutally gunned a man down and walked away from the scene. The town sheriff, John T. Chance (Wayne) and his drunken deputy, Dude (Dean Martin), track him down and throw him in a jail cell. Burdette’s brother, Nathan (John Russell), is a powerful rancher though with his hand in everything. With a small army of gunmen, Nathan bottles up the town. Chance can’t get Joe out of town, and he can’t bring help into town. Left with no alternative, Chance and his deputies sit back and wait. They think the Burdettes will make a move at some point, but in what capacity? The odds are definitely against them.

I can’t think of too many westerns that are more enjoyable, more fun, more charming. From director Howard Hawks, ‘Rio’ is a gem of the genre. It avoids most of the trappings that plagued so many “adult” westerns in the 1950’s, finding a balance among story, characters, drama, laughs and gunplay. Maybe a touch long at 141 minutes, but I’m still never bored. There aren’t any dark undertones or heavy-handed attempts at drama. Just all the separate pieces working together to create an even better final product, a true classic.

Since delivering maybe his career-best performance four years earlier in 1955’s The Searchers, Wayne had gone away from the western genre only to see his next 4 films struggle at the box office. His western return was a triumph! My opinion obviously, but I think this is Wayne’s coolest performance — for lack of a more well-spoken description. He looks the part, sounds the part and looks to be having a ball with a great cast that’s loaded with chemistry. This film began the second half of his career — as he became the Duke more than John Wayne — but his Sheriff John T. Chance becomes an iconic western character; the stout, stubborn, capable small-town sheriff. Odds be damned, he intends to do what’s right.

The cast in ‘Rio’ wouldn’t seem like a gimme if you just look at the cast listing. Odd choices, interesting choices, but you know what? They ALL work. Chance’s crew of deputies include Dean Martin as Dude, a gunslinger who’s fallen on hard times courtesy of a drinking problem, Walter Brennan as Stumpy, a motor-mouthed old man with a significant limp, and singer/teen idol Ricky Nelson as Colorado, a young gunslinger who’s quick on the draw but inexperienced. John Russell makes the most of a small part as intimidating gentleman Nathan Burdette while Claude Akins sneers and jeers as his punk brother, Joe.

According to Wayne and Hawks, Rio Bravo was at least partially a response to 1952’s High Noon. I’ve read Wayne even thought the Gary Cooper western was un-American as countless townspeople refused to help Cooper’s Will Kane. Not the case here. Chance has a drunk, a cripple and a youngster, but he’s got help. Many other people offer to pitch in and lend a hand, but Wayne’s Chance refuses almost all of it. The catch is that the chemistry of the oddball crew in Rio Bravo is amazing. This is a great dialogue-driven script. Check out the memorable quotes from IMDB HERE. It’s a gem from beginning to end, and the cast doesn’t disappoint in bringing it all to life.

One of the more interesting aspects of Rio Bravo is the casting of 28-year old Angie Dickinson as Feathers, a saloon girl that Chance tries to chase out of town but ends up butting heads with and eventually falling for. The age difference is noticeable with a 50-year old Wayne, but my goodness, every scene they have crackles together. Dickinson keeps Wayne on his heels at all times, talking and questioning and generally driving him nuts. Westerns so often waste their female leads with non-essential…well, everything, but Dickinson is such a scene-stealer, you can’t help but sit back and watch the on-screen chemistry.

Rounding out the cast, Ward Bond plays Pat Wheeler, a wagon train leader who has a friendly history with Chance and wants to help. Also look for Pedro Gonzalez-Gonzalez as Carlos, the hotel owner who is close friends with Chance as well. He has some great lines as he hams it up in certain scenes and underplays other scenes. Estelita Rodriguez plays Carlos’ wife, Consuela.

I caught something interesting on my most recent viewing. ‘Bravo’ has elements of a stage-based play with only two key locations, the jail and the hotel. Sure, the main strip in the town of Rio Bravo is key but almost the entire story is told in either those 2 locales (with some departures here and there for drinking at saloons and shoot-outs). Just an observation.

One of the qualifiers with classic westerns is memorable lines, memorable shootouts and set pieces that help it stand above the rest. The wordless opener is a gem, almost 7 minutes without a word spoken, no explanations given. I’ve always loved the scene too where Chance and Dude walk into a saloon looking for a murder suspect…except he disappeared. But how? A classic. With talents like Martin and Nelson too, there’s even a chance for some singing. Forced, even jammed, into the story? Sure, but it’s so good you don’t even care. Give the 2-song set a listen HERE. It’s all aided by a classic score from composer Dimitri Tiomkin, including a great main theme and a test run on his Deguello sample he’d use a year later in The Alamo.

A movie I love a little more with each viewing. A true classic. So much to recommend. You’d better just go watch it to be safe.

Rio Bravo (1959): ****/****

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Sabata (1968)

sabata_dvd_coverIt’s beyond easy to point to Clint Eastwood as the actor most profoundly impacted by the popularity of the spaghetti western genre. His Dollars trilogy with Sergio Leone put him on the map on a worldwide basis. Who’s the second guy on that list? There are a handful of names that come to mind, but it’s not really close. It’s gotta be Lee Van Cleef, who co-starred with Eastwood in two Leone westerns. Van Cleef immediately shot to stardom, including an iconic character in one of the best spaghetti westerns in the entire genre, 1968’s Sabata.

 

In the Texas border town of Daugherty City, a gang of bandits rob a heavily-guarded bank and escape into the desert, heading for Mexico with the haul. That’s the plan at least. A mysterious gunfighter clad in all black, Sabata (Van Cleef), stops them in the desert, killing them all. He returns the money to the town and receives a sizable reward from the Army. That’s not all though. Three prominent businessmen in town were behind the robbery, looking to use the stolen cash to purchase more land, land the railroad is going to buy soon. Sabata quickly finds out their plan and blackmails the trio for increasing amounts of money. The only solution for the trio? Kill Sabata, but any would-be killers will have their hands full with this seemingly unstoppable gunfighter.

 

By 1968, the craze of spaghetti westerns were in full swing. ‘Sabata’ marks an interesting turn for the genre with director Gianfranco Parolini at the helm. The crazy villains, sweaty/sandy landscapes, the overdone violence, all three are on display. But Parolini’s western has a much lighter tone. There is genuine comedy, featuring some great one-liners and memorable sight gags. Acrobats fly through the air, including one of Sabata’s partners (but more on that later). Everything is exaggerated and overdone…but it works. It’s criminal how well it works.

 

It starts at the top with Lee Van Cleef as Sabata. It’s hard not to compare the character with Col. Mortimer from For a Few Dollars More (probably Van Cleef’s most memorable, iconic role), from the black suit and black hat to the expansive weapons arsenal. What’s added here is the more humorous tone. His one-liners are great, and his use of his guns ends up being some punch lines too. He seemingly can’t miss! Most importantly, Van Cleef seems to be having a ball. His evil smile is always on display, and you always get the sense he knows more than everyone else. As for his mysterious backstory, that definitely adds a layer to the story. His most memorable part? No, probably not, but it’s so much fun.

 

The general odd qualities to characters of the genre is a big positive here too. William Berger plays Banjo, a similarly mysterious gunfighter who’s always carrying…a banjo (with a surprise). He works for whoever will pay him, so one scene that’s Sabata and the next the bad guys. He wears bells on his pants and his coat and has some effeminate touches, but it’s a scream. The dialogue between Van Cleef and Berger provide repeated gems. Ignazio Spalla has a ball as Carrincha, Sabata’s right-hand man, a drunken Civil War vet who’s an expert knife thrower. His maniacal laugh is awesome. Aldo Canti plays Alley Cat (Indio in certain cast listings), a mute Indian who bounces around town like an acrobat with some nicely hidden trampolines. Definite oddballs but fun throughout.

 

Franco Ressel plays Stengel, the powerful rancher pulling all the strings. With an epic combover, heavy eyeliner and almost alien eyes, Ressel isn’t the most imposing villain…but definitely one of the more eccentric. Antonio Gradoli and Gianni Rizzo play his partners in crime, ever worried Sabata will ruin their plan. Also look for the beautiful Linda Veras as Jane, a saloon girl who loves Banjo, an eye candy part if there ever was. Also keep an eye out for plenty of familiar faces if you’re a spaghetti western fan.

 

What caught my attention on this latest watch was that really, there’s not much in the way of a story. Sabata blackmails the baddies, the baddies try and kill Sabata with epic failures….and then there’s a lot of shooting. You don’t notice though. It never slows down — at 102 minutes — enough for you to not enjoy the ride. Lots of action throughout, highlighted by Sabata, Carrincha and Alley Cat attaching Stengel’s fortified ranch. As well, the finale has a good twist and one of the better final shots.

 

Last but not least, composer Marcelo Giombini turns in one of the great spaghetti western scores over. Big and loud, featuring some almost gothic orchestra uses, and a GREAT theme song, it’s so good. Listen to a sample of the soundtrack HERE and the main theme song HERE. Apologies in advance if they’re stuck in your head for a couple days. Not always mentioned as one of the best spaghetti westerns, but it’s a gem and one of my personal favorites. Also, check out two Sabata sequels, with Yul Brynner taking over the part in Adios, Sabata and Van Cleef returning in ‘Return of Sabata.’ Neither are as good — Adios is better — but still worth a watch.

 

Sabata (1968): *** 1/2 /****