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."
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…
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…
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
Mystifying how (and why) this isn't widely regarded at the very least an equal counterpart to Last Picture Show's much-ballyhooed depiction of small-town Americana. I have no beef with Bogdanovich's film, but the discrepancy in popularity isn't really justified; maybe it has to do with Hud's rougher edges, but Newman in his prime - despite the eponymous character being a pretty loathsome blowhard - should more than make up for that. One wonders if Last Picture would even exist without this film's ethos, not to mention the formal affinity Bogdanovich obviously had for it (James Wong Howe's Oscar-winning cinematography: daaaaaamn). And I know the competition is fierce, but when it's all said and done, we might be talking about one of the 15 best ever films set in Texas.
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…
The pleasures of the performances and photography here far outweigh the fairly simple moral crisis that's presented. It's a much better, or at least more consistent, movie than the similarly themed Giant, and to these eyes a more definitive portrait of an American anti-hero than Rebel Without a Cause. It never shies away from its bleakness.
Why have I not seen this before?
Shy near perfect filmmaking.
For some he maybe a despicable character, but this film truly explores relationship between people of different values.
Dynamic in the approach too.
"Little by little the look of this country changes because of the men we admire.
It was such a treat to watch this in the local cinema today.
"Happens to everybody. Horses, dogs, men. Nobody gets out of life alive."
I went into this film completely blind (first time I've ever done so)- all I knew was the title, Paul Newman wearing a cowboy hat, and "the man with the barb-wired soul". Don't blame me for originally thinking this was some sort of Yojimbo ripoff!
Anyway, it's great. (1963, best year of film ever? This, High and Low, The Leopard, The Birds, 8 1/2, The Trial...) Actually, beyond great; it's terrific, even emotionally overpowering- it uses what initially seems like a simple Western generational conflict to inform this massive blanket statement about idealization, counter-culture, sexual violence, industrialization, all reflected on a gorgeous western vista that seems more…
Fucked me up!
Everything about HUD, from its sense of time & place to the impeccable performances by all four leads to the writing, is phenomenal.
All four characters interact with each other in different, but distinct ways that all feel genuine which allows the plot to take a backseat for most of the film without anything feeling sluggish.
Having seen LAST PICTURE SHOW and TERMS OF ENDEARMENT, I can say this is easily the best film based on Larry McMurty's work. The writing is top-notch without being showy in the least. Like "The Sopranos", it evokes a sense of "the best times have passed by already"
and earns its tragic moments wholeheartedly.
Patricia Neal has the shortest lead actor Oscar-winning performance ever, but…
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.
At the SCFZ film forum, we held our first in what will be a series of genre polls - we…
This great list was brought to my attention when I saw it mentioned in a review by William Wood. I…