All the films from all the editions, including those subsequently removed, presently totalling 1167. 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."
<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
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.
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…
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…
Could have been a rote morality play about cynicism and selfishness against old-fashioned idealism, but take a look at the title: Yeah, that's the bad guy. His arc is mostly defined by the potential for redemption being squandered at every turn, when he's not actively demonstrating his contempt for others, that is. It's so gosh darn bleak that the best you can hope for the other characters is that they stay the hell away from Hud for good.
In cinematic terms, it's impeccably crafted. My love for black and white Cinemascope is well-documented and this is a superb example of the form. Newman is great, although a little too pre-60s muggy for material this sophisticated.
Paul Newman's Hud is handsome, often charismatic, but thoroughly abhorrent. He is cruel, conceited and unable to connect to those around him. Save for the rare occasion where his cool charm is hard to resist, he is impossible to relate to, but our fascination with him within this compelling character study derives from the effect he has on those around him.
The narrative focuses on Hud's unique relationships with the three people closest to him, his patriarchal father who is disappointed by his lack of principles, his nephew Lonnie who questions whether he has chosen the right role model and the pretty housekeeper who frequently refuses his drunken passes. Melvyn Douglas, Brandon deWilde and Patricia Neal thrive in these three…
I can sometimes get frustrated with adaptations of books I've read, because they often seem not to have much reason to exist. That said, 'Hud' is one of the most successful adaptations I can think of. It's not slavishly faithful to the plot of Larry McMurtry's 'Horseman, Pass By,' but it's very faithful to the spirit of the story, while refocusing and opening it up. Hud himself is not always particularly present in the novel, so the task of the screenwriter, and Paul Newman, was to recenter Hud in the narrative and make it his story, which they achieve with aplomb. He's an incredible antihero, always walking the line between fascinating and despicable (not mutually exclusive qualities). The photography is…
This review reportedly contains spoilers. I can handle the truth.
#52Films2015, number 7.
“Its a lonesome old night, ain’t it?”
“Ain’t they all?”
Hud represents Paul Newman’s defining early role in his magnificent career. An incredibly complex and challenging character, with so much clearly buried beneath the surface. As a Foot and Mouth epidemic threatens to rip away a family herd, and way of life, the relationship of a father and son are put to the test. This film has really amazing Black and White cinematography of the dusty plains of Panhandle Texas. There’s a contrast of the endless expansion of the land with the closed and claustrophobic nature of the family being torn apart as they helplessly wait on their fate. In the midst of all the male-centered bravado…
Paul Newman really was one of our greatest stars. His magnetism is enough to make even someone as despicable as Hud this enthralling. His iconic blue eyes, obscured here by James Wong Howe's melancholic black-and-white photography, remain piercing.
Only an actor as talented as Paul Newman can make a character as big of an asshole as Hud compelling to watch in the film's almost two-hour running time. He stars as title character, a selfish womanizing Texas rancher running a farm living with his father, nephew and their housekeeper. Newman adds so many layers to Hud that makes him both believable and multi-layered. He's ably supported by Melvyn Douglas as his father, Brandon de Wilde and especially Patricia Neal who deservedly won an Oscar (but for Lead, she's clearly Supporting). James Wong Howe's expressive black-and-white cinematography is pretty stunning. The dark interiors match the brilliance of the sprawling landscape that surrounds it. It's an unforgettable film.
Movie #575 of "1001 Movies You Must See Before You Die".
They shoot cows, don't they?
Fun fact: In Hud, Paul Newman not only strikes an iconic figure as the eponymous shitkicker, but also makes an oddly specific and prophetic joke about salad dressing.
An American classic based on a story by Larry McMurtry, Patricia Neal actually steals this one from Newman in what is the best female opposite of Newman's storied career. The depiction of modern life in west Texas in the 1960s is spot-on, and it's a great film to watch in concert with Peter Bogdonovich's 'The Last Picture Show.' I've seen this a dozen times and it still feels fresh every time, particularly the harsh reality of the family's cattle herd and its terrible fate.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
This list is the Letterboxd version of The Oxford History of World Cinema.
The book celebrates and chronicles over one…