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…
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."
I don't know why anyone would want to live in Texas after the big-screen depictions of it as a place full of nothing but boredom and misery. Surely it can't be that bad. Well, "Hud" certainly makes it seem like it is. This bleak and depressing story shows Hud (Paul Newman), only surviving son of a farm owner (Melvyn Douglas) who has found him to be nothing but a disappointment, selfishly whiling away the hours in Nowheresville, Texas. Newman portrays Hud as almost ridiculously virile and full of annoying machismo. His character doesn't know how to interact with anyone on a genuine level, so he instead uses aggression (physical, verbal, and sexual) as his only means of communication. It's a…
The generational conflict was a little trite, but the characters are so rich and compelling that I didn't care. And it looks great to boot.
Hud really feels like the inspiration for every macho anti-hero we can't escape in our current pop culture landscape. Without Paul Newman being an asshole in a wifebeater, would we have ever been graced with Don Draper? I have my doubts.
Still my favorite Western. Wishing that the Alma character was in pretty much every film ever.
"Little by little the look of the country changes because of the men we admire."
Hud is a morality tale, a cautionary story of the loss of innocence. And it is loaded with tension - each scene is thick with emotional, sexual, or moral tension.
Paul Newman is perfectly despicable as waiting-to-go-prodigal son Hud. The grandfather is a strong, pure pillar of strength. Honorable and intractable, his adherence to the straight and narrow leads to his undoing. And his rigid righteousness is a foil to Hud's desire to be his own man. Clouded with intense desires and little regard for others, Hud is a walking disaster.
Innocent and idealistic, Lonnie stands in the middle of this intergenerational conflict, along with the world weary house-keeper Alma. It's from his perspective that we witness the fall of this house.
The night scenes are exquisite.
High-rated movies with very few views. Suggestions are welcome.
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…