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Rio Bravo (1959), Howard Hawks has come to be regarded as a perfect example of both the western genre, and the work of its director. But, at the time, was not very well received by critics. For example, the New York Times said of her: "It's nearly as five television westerns, one after another." However, the critic Arthur Knight, issue of The Saturday Review was able to see farther: "It's a film typical of the West, as so many of Hollywood has offered us, but, directed by Howard Hawks, which means that everything is different there than usual. There is excitement, suspense, the pleasure of watching the old landscape of the West and to see good triumph over evil ".
After the failure of Land of the Pharaohs (1955) spent three years Hawks before resuming his career with Rio Bravo , which rolled between May and July 1958 in Tucson, Arizona. Hawks decided to "try some of the spirit with which we shot in the old days" , and was inspired to some extent Noon (1952), Fred Zinnemann, about a sheriff who has to deal with a group of outlaws. As pointed out by Hawks himself in his interview with Peter Bogdanovich: "Gary Cooper was trying to get help and everyone failed him, which is pretty stupid, especially considering that in the end, was able to make it work alone. I said then: Let's do the opposite and to adopt a truly professional standpoint, as Wayne is responsible for identifying when they offer help: If you are good, take it. But if not, I'll have to take care of them ".
But Noon not was the only western that inspired Hawks. The same situation of a charge of enforcing the law had to keep a prisoner in a state of siege had already The train of 3.10 (1957), and Walter Brennan had played another jailer curmudgeon in a good western, The Proud Ones (1956) that as Río Bravo , had as its theme the relationship between a sheriff and his assistant.
However, Rio Bravo deliberately prefaced characterizations and psychology into action. He had noticed that the television series over the public were familiar with the arguments Western movies. With enough courage, Hawks and his screenwriters Leigh Brackett and Jules Furthman, paid little attention to the personalities of the wicked. The prisoner, played by Claude Akins, is the only one that appears somewhat individualized, while those who come to rescue beings almost anonymous.
Instead, Hawks, focuses on the relationship between John Wayne as a sheriff and Dean Martin as his alcoholic assistant, whose recovery of self-esteem is the main theme of the plot. The grumpy old jailer and the young gunslinger played by Ricky Nelson completed a group united by the professionalism and mutual loyalty.
Rio Bravo (1959), Howard Hawks has come to be regarded as a perfect example of both the western genre, and the work of its director. But, at the time, was not very well received by critics. For example, the New York Times said of her: "It's nearly as five television westerns, one after another." However, the critic Arthur Knight, issue of The Saturday Review was able to see farther: "It's a film typical of the West, as so many of Hollywood has offered us, but, directed by Howard Hawks, which means that everything is different there than usual. There is excitement, suspense, the pleasure of watching the old landscape of the West and to see good triumph over evil ".
After the failure of Land of the Pharaohs (1955) spent three years Hawks before resuming his career with Rio Bravo , which rolled between May and July 1958 in Tucson, Arizona. Hawks decided to "try some of the spirit with which we shot in the old days" , and was inspired to some extent Noon (1952), Fred Zinnemann, about a sheriff who has to deal with a group of outlaws. As pointed out by Hawks himself in his interview with Peter Bogdanovich: "Gary Cooper was trying to get help and everyone failed him, which is pretty stupid, especially considering that in the end, was able to make it work alone. I said then: Let's do the opposite and to adopt a truly professional standpoint, as Wayne is responsible for identifying when they offer help: If you are good, take it. But if not, I'll have to take care of them ".
But Noon not was the only western that inspired Hawks. The same situation of a charge of enforcing the law had to keep a prisoner in a state of siege had already The train of 3.10 (1957), and Walter Brennan had played another jailer curmudgeon in a good western, The Proud Ones (1956) that as Río Bravo , had as its theme the relationship between a sheriff and his assistant.
However, Rio Bravo deliberately prefaced characterizations and psychology into action. He had noticed that the television series over the public were familiar with the arguments Western movies. With enough courage, Hawks and his screenwriters Leigh Brackett and Jules Furthman, paid little attention to the personalities of the wicked. The prisoner, played by Claude Akins, is the only one that appears somewhat individualized, while those who come to rescue beings almost anonymous.
Instead, Hawks, focuses on the relationship between John Wayne as a sheriff and Dean Martin as his alcoholic assistant, whose recovery of self-esteem is the main theme of the plot. The grumpy old jailer and the young gunslinger played by Ricky Nelson completed a group united by the professionalism and mutual loyalty.
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