All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
The man with the barbed-wire soul.
Hud Bannon is a ruthless young man who tarnishes everything and everyone he touches. Hud represents the perfect embodiment of alienated youth, out for kicks with no regard for the consequences. There is bitter conflict between the callous Hud and his stern and highly principled father, Homer. Hud's nephew Lon admires Hud's cheating ways, though he soon becomes aware of Hud's reckless amorality to bear him anymore. In the world of the takers and the taken, Hud is a winner. He's a cheat, but, he explains "I always say the law was meant to be interpreted in a lenient manner."
Martin Ritt's sobering, desolate neo-Western is a compelling tale of ranch life, generational conflict and the unchecked indulgence of sexual impulse. Based on Larry McMurtry's novel, a livewire Paul Newman is brilliant as the amoral antihero at its centre, merciless in his rejection of his principled father (a heart-rending Melvyn Douglas), neglectful of his impressionable and good-natured nephew (Brandon De Wilde) and casually abusive of their house-keeper (Patricia Neal). Though presented in a way that emphasises the virility that would seem to spur his increasingly wanton actions, often dressed in white vests and tight denim, this is no vainglorious depiction of desirable masculinity but rather an unforgiving glimpse at the selfish, rotting core of the displaced modern male, unable to…
No Country for Old Men '63? This was way darker and carried a far more conservative streak than I was expecting. At one point in HUD I'm fairly certain that generational malaise is made analogous to contagious disease in livestock. The inflicted cattle are rounded up in a ditch and summarily executed by gunmen wearing rain gear to protect from the splatter. I don't think Martin Ritt and collaborators would have chosen this imagery if they knew Kent State was less than a decade away, but as they are safely on the wrong side of the "don't trust anyone over 30" slogan, I wouldn't accuse them of insincerity in this powerfully sad depiction of change. The lesson of the incident…
A beautiful contrast of generations and morality featuring world-class performances by Newman, Douglass & Neal. Ritt's confident and steady direction coupled with James Wong Howe's staggering work fills out what is a simple yet impactful piece of cinema.
<3 Paul Newman <3
Do I have to say more????
My first young Newman film and boy what a performance...and those blue eyes...<3
The No Country For Old Men before the Coen Bros reached puberty...
Seriously, the moral complexities found here in this hard hitting family western drama are further reaching than I would have imagined for a film from the 60s. The writing is tightly wound, covering up any gaps that I began to question with ease, and adds depth with each passing scene.
The acting ensemble here is also impeccable, hard to find a fault in any of the performances - especially that of Paul Newman and Melvyn Douglas. I've read that audiences saw Newman's Hud as the hero of the film, when he's clearly made to be the anti-hero. But that's a testament to how well he was written and…
I have always felt Martin Ritt was a great, underrated, filmmaker. He made at least three classics, The Molly Maguires, The Spy Who Came in From the Cold and, best of all, Hud. He also made a number of solid, unassuming efforts throughout the 1960s.
Hud showcases Paul Newman at his best. It is a magnificent performance. The tagline has it correct, he has barbed wire in his soul. It is probably my favourite performance he ever gave. A fearless and unsympathetic turn, but strangely charismatic. Yet he is matched at every turn by Patricia Neal and Melvyn Douglas. It is a testament to Ritt's assured direction that no scene is overplayed, yet every minute of the film is brutally…
It's actually kinda scary finding out that, when this was released, audiences thought Hud was a genuinely cool anti-hero rather than, y'know, the biggest asshole on the entire planet. I suppose that's the downside to casting someone as likeable as Paul Newman in the role, although the upside is that Hud's charm over certain people is much more convincing than if someone like Ernest Borgnine took the role (and Borgnine was an asshole in real life, so in theory he'd be more convincing, right?).
I'm a bit drained when it comes to giving actual proper thoughts on movies at the moment, but one thing I definitely need to say is that Patricia Neal is clearly the MVP here - such…
Given the extent of Hollywood's current commitment to strictly releasing blandly inoffensive films for the broadest possible audience, it amazes me that it used to consistently spend lots of money on producing films with protagonists as unlikeable as Hud; a callous, violent, amoral, disloyal, adulterous, obdurate alcoholic. Also amazing: how Paul Newman still manages to imbue that character with his trademark (in this case, contradictory) effortless cool.
Paul Newman was a top flight talent with serious star power. Casting him as the simultaneously fascinating and repulsive lead character in this film was probably not a stroke genius for whoever did so, as it was a no brainer. The film, like its title, is built around his character and his performance. But the Hud character’s importance is very much related to how those around him see him, particularly the characters in the family, who are all interesting and moving on their own. Perceiving Hud through his interactions with each of them, the audience – like his family – want desperately to like this handsome, charismatic, and rebellious wayward soul but ultimately find him pathetic, desperate, and hollow. Not…
Best Actress - Patricia Neal
What kind of name is Hud anyways
Paul Newman really was something back then, huh.
Newman oozes charisma in this great Western(ish) that has its fair share of 'Aw Shucks' moments, but also some great photography and well drawn characters. The scene with Granddad in the road is really well done. Not such a good time had by the cows though...
Brokenhearted, sparse, and uniquely McMurtry-ian. It's so lonesome it practically cries on its own. A perfect double-billing with The Last Picture Show.
"My mama loved me but she died."
High-rated movies with very few views. Suggestions are welcome.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!