All the films from all the editions, including those subsequently removed, presently totalling 1187. 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…
This review may contain spoilers. I can handle the truth.
An all-around excellent piece of craft, the only thing about Hud that keeps me from loving it is that I didn't love it. Paul Newman leads a terrific cast, with typically great performances from Patricia O'Neal and Melvyn Douglas. Martin Ritt's direction is lean and James Wong Howe's black-and-white cinematography is stark and evocative. Larry McMurtry's story -- about the wide-eyed grandson of an aging cattle rancher coming to terms with his charismatic but mean-spirited uncle -- is unpretentiously straightforward, but also carries some meaningful subtext about the changing times.
Yet, something kept me emotionally distant from the characters in this intimate narrative, and I think it might've been the sense of inevitability that sometimes mars the kitchen sink dramas…
Hugely entertaining contemporary Western, set in the Texas of Cadillacs and cattle, crickets and transistor radios; handsomely designed, and shot in black-and-white (by James Wong Howe), it's visually simple and precise and unadorned. The film is schizoid: it tells you to condemn the nihilistic heel Hud (Paul Newman), who represents modern "materialism," but casting Newman as a mean materialist is like writing a manifesto against the banking system while juggling your investments to make a fortune. Newman has energy and wit and his physique and "them there eyes," while his clean-old-man father (Melvyn Douglas), who stands for high moral principles, is a pious fuddy-duddy-inhuman, except for a brief sequence when he's at the local movie house and he follows the…
One of Paul Newman's finest moments in a great purple patch for the fine American actor and philanthropist. A fine character study of a man driven to booze, despair and self-loathing for accidentally killing his brother, this has fine support from Melvyn Douglas, Patricia Neal, Val Avery and Brandon De Wilde (whose work I greatly admired in 'The Member of the Wedding' and 'Shane', and whose tragic, untimely death at 30 in a freak accident was put in song by Gram Parsons and Emmylou Harris in their exemplary 'In My Hour of Darkness') and is also one of Martin Ritt's best-helmed works. He must have had a blessed partnership with Newman, as together they made many very good movies.
Come for Paul Newman, trying his damnedest handsome self to act a bastard...Stay for the stunning Texas free-range cinematography by Wong Howe...Leave with a satisfying - and surprising, for a conventional ol' school drama anyway - sense of moral ambiguity.
Hud features a title character with what has been advertised as a "barbed-wire soul"—whatever that means. As played by Paul Newman, directed by Martin Ritt, and written by Irving Ravetch and Harriet Frank, Jr. (sic), Hud swaggers across the screen like Evil Incarnate, but his assorted peccadilloes barely fill the quota of a Peck's Bad Boy of the Prairie. Even before Hud appears the audience is alerted to his wicked reputation. Hud's doe-eyed nephew (Brandon de Wilde) wanders innocently through a sleepy Texas cattle town, expertly photographed by James Wong Howe by the dawn's ugly light. The whole film, in fact, displays that hungoyer look that is almost invariably confused with honest realism. Here the visual correlative of decadence is…
Happens to everybody. Horses, dogs, men. Nobody gets out of life alive.
I found Hud to be a strangely powerful film. Hud is so much more than a stereotypical western boy. He is infected with germs of materialism. Selfish and apathetic, Hud only cares for himself. The idea of him living in Texas is not to be limited, it is a representation of our country as a whole. The conflict of the novel is which man, Hud or his aging father, will inspire Hud's seventeen year old novel. The sureness of this revelation is clear.
Hud was a very interesting film. It had a very much psychologically ran plot. You could feel for Homer and Lonny during several scenes in the movie, and you saw how little Hud cared and what kind of person he was. This reality causes Lonny's growth in the movie.
In Hud, Hud is a carefree and selfish person who is consumed with the idea of gorgeous girls and money. Unlike his father, his grandpa is who he is referring to, who worked hard for his money, and is grateful for the life he has. What is unique about Hud is the fact that it is in black and white when the time it was created would permit the movie to be filmed in color.
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!