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Monday, May 28, 2018

Warners' Once In A Lifetime Star Combination

Rio Bravo Packs A 1959 Wallop

Quick recipe for a better Rio Bravo: 90% less of Pedro Gonzalez-Gonzalez and Estelita Rodriguez, 50% off Angie Dickinson's part, her line "I guess I talk too much" a truest uttered in whole of the film, tablespoons more of Rick Nelson, a biggest asset to Rio Bravo outside of Wayne and Dean Martin, and lastly a lingering shot of Dude, or later one of Burdette's henchmen, with hands deep in the spittoon to which a coin is tossed. Latter mention is me being glib, but what I noted in latest Bravo view was fact of no one actually shown reaching into that spittoon. An ick moment to capture close up to be sure, but I wonder if Hawks chose to omit it, or if he was obliged to do so by a still-in-force PCA (the censor group did demand he trim some of Bravo violence, plus suggestive dialogue at the film's fade). Of course, Dude is interrupted in progress toward the spittoon by John Wayne's Chance kicking it away, redeems his humiliation later where the Burdette man is made to plunge hand for another dollar thrown. We hear coinage being retrieved, but do not see it. Was this ultimate degradation too much for 1959 stomachs to bear? You can see I'm reaching for something fresh to say about Rio Bravo, so much, as in volumes, having been writ by others more eloquent and less drawn to minutiae.

Rio Bravo, like The Searchers, has been ground to powder by over-analysis, but I'm wondering if academics still teach it like they used to. Bravo is gaining on sixty years after all, and must seem mightily old-fashioned to millennials afflicted by it. And there are directors of later accomplishment more fashionable than Howard Hawks. As instructors get younger, there has to be readjustment of directing's pantheon. Name a class that would not respond more favorably to Christopher Nolan or David Fincher than Howard Hawks. Older fans thought Hawks would go forever because he seemed so fresh and modern, but I suspect that time is past. Josef von Sternberg and Stroheim fell off most syllabi years ago, these most sacred of cows back in day when scholars like Herman Weinberg and Everson led the conversation. Are Ford and Capra, for instance, talked about in current film studies? Something tells me --- not. Can someone still active in the field enlighten us? A good by-product of Hawks-neglect would be Rio Bravo going back to the corking western it was in 1959, when everyone crowded in to see favorite movie stars, plus top TV names, plus Ricky Nelson in six-guns and song. That's the Rio Bravo experience I'd give anything to have had.

As told before, I missed Rio Bravo that opener year, but would have seen the trailer, as Bravo was Liberty-booked for the week after The Shaggy Dog, for which I was there. What would my five-year-old reaction have been to Rio Bravo's preview, and its "Once In A Lifetime Combination of Today's Hottest Star Names"? That summer audience would not have come back to study Rio Bravo --- they'd have been there again to revel in it. The trailer must have made an impression even on kindergartner me, what with dynamic tempo, Dimitri Tiomkin custom-scoring those 2:45 minutes and seconds, plus Ricky Nelson making a personal appeal to come see the show. This was marketing at Classic Era twilight. Like with Psycho a year later, there could never be audiences who'd enjoy a movie so much as this one when fresh and new, much of its cast close as a tuning dial at home. First-run of Rio Bravo was indeed that "Once In A Lifetime" when every face on view was known and loved by all in attendance. No associate professor, no would-be revivalist, let alone someone evangelizing for Rio Bravo in cold print, could hope to duplicate that.

Rio Bravo runs 141 minutes. An initial cut was three hours long and evidently previewed, because Dimitri Tiomkin scored whole of it and his cues for the removed footage are still around. Howard Hawks made his later films more lived in by relaxing the tempo and just letting events happen. Late 50's and 60's work from this director seemed to chuck every lesson he or anyone had been taught during an era of structure, pace, and getting it done over three disciplined acts. Hawks had tired of that and realized it wasn't necessarily what audiences wanted in a sit-home-and-watch-television market. He knew it was more about character now and less about action. I'm re-watching everything he made from Rio Bravo to the finish, and note a Zen state that comes of surrender to Hawks' universe. The films being overlong is no impediment, nor are support players (odd assemblage behind John Wayne in Hatari!), or even untried leads (Red Line 7000). Attention can drift between a late-period Hawks and whatever needs doing in the household without loss to viewing pleasure. His people are still at laid-back neutral wherever your focus has gone. I'm finally hep to value of movies like this. They needn't all be taut as banjo strings. Hawks had six left beginning with Rio Bravo, and they are each a pleasure, at least for me, to re-watch.

Hawks observed once that "there are more laughs in Rio Bravo than the comedies I did." To that I'd concur, and add to that list most of other westerns and actioners (certainly ones w/ Bogart) bearing HH signature. Hawks looked for humor in every situation. He'd encourage players to lighten up. The Thing to me is richly funny, and that keeps tension the tauter. Current "dark" interpretation of comic books (an absurdity on its face) could use a Howard Hawks. Oh, for number of times I've sat poised for Stumpy's reaction when the match burns down to his finger, or when Chance kisses him on top of the head, or ... well, let's just say the 141 minutes aren't punitive for me. Again to the context of first-runs --- imagine being a loyal viewer of The Real McCoys, Ozzie and Harriet, Wagon Train, Lawman, and here they all are in one big color western with John Wayne besides. Color alone would have been plenty incentive to come, just as I would later to Munster Go Home. Even Pedro Gonzalez-Gonzalez, trying as can be in Rio Bravo, was known and liked commodity from then-television (a recurring guest to Groucho's You Bet Your Life), and obviously someone John Wayne enjoyed (in for three of his films). It's entirely possible that by next time I watch Rio Bravo, Gonzalez will have become a cherished face among the ensemble, so strike whatever I said earlier about "improving" Rio Bravo.

John Wayne's Chance observes that "it's nice to see a smart kid for a change" after early encounter with Ricky Nelson's "Colorado." I'd guess this was a first time a teen singing idol had been dropped into a mainstream feature to lure youngsters and improve business. It worked for Rio Bravo, how well we shall not know, for what would Rio Bravo have grossed without Ricky Nelson? Wayne was well along as guarantor of a mass audience, entering his fifties as Rio Bravo went before cameras. Nelson was seventeen when shooting began, and I expect most kids who went to see Rio Bravo in 1959 were there for him. Ads bear it out --- note sample above where Ricky is in preferred top left position with reference to three "hit songs" he performs (three? --- I just recall two). No one was closer to reality of selling than showmen on the ground and scratching for sales for that very day their advertising appeared, and on this particular day in summer 1959, Ricky Nelson was Rio Bravo's biggest noise. Wayne had to know his value for teen faves that would recur in The Alamo, North To Alaska, neither Frankie Avalon or Fabian as effective as Nelson. A possible reason? He had Hawks for guidance, and Ricky Nelson was tall. He looked formidable for that in spite of a so-called "baby-face" as promoted in the trailer. A shrimpy kid would have been the collapse of Rio Bravo, what with its uniformly height-plus cast. Noteworthy are trio stills of Wayne, Dean Martin, and Rick, the first two in elevated boot heels, with Nelson wearing comparative flats.

Part of why Howard Hawks leisured with Rio Bravo was his conviction that viewers were done to death with stories they had seen/heard too many hundreds of times. Television had in a 50's meantime ramped that to thrice-fold and overflowing. Westerns were a worse contagion, like having mosquitoes flown through your den nonstop. People had to be sick of them, but they'd watch because it was free. Programmers insisted on more cowboys so long as backlash stayed at bay. Even Disney got pressure to increase westerns on his weekly primetime menu. One truth shone brightest: the stories did not matter. Warners could cycle a same script through all their saddle sores and no one would be the wiser, or care if they did know. Action beyond two guys throwing a punch could be left to stock footage. It was a deep cynicism Hawks confronted when time came to prepare Rio Bravo. He had watched enough TV to realize that what viewers liked was the personalities, a Clint Walker or James Garner or whatever popularly sat a horse. Hawks could make his own "town" western, omit mass action and sprawling movement, so long as people we looked at were engaging and likeable. Rio Bravo then, would combine junior varsity of TV favorites in support of a senior team (Wayne, Dean Martin) we'd expect for having bought a theatre ticket. As pure commercial endeavor and dead-accurate read of public pulse at the time, Rio Bravo may be the most brilliant of any 50's work Hollywood did.


Blogger TF said...

Hawks and Ford were still being taught as recently as five years ago when I was earning my MFA. Some students balked at the older films, stating how much they disliked them. My prof’s wonderful response? “It’s safe to say, I don’t care if you like the films. That shouldn’t prevent you from analyzing the films and understanding their importance.” I give my students a similar answer when I show older films. At least a small percentage seem to come around every semester.

9:51 AM  
Blogger Glenn Erickson said...

Ha! Loved it at age seven, but found it intolerable in college, and not just because of Wayne (who we UCLA radicals appreciated in his good stuff). A favorite moment in Jim Kitses' excellent Westerns overview class was when was a respected grad student, not known to make ANY remarks, stood up after our screening of RIO BRAVO and said, 'Why does anybody think this is a good or worthy movie, in any way shape or form?" Even Kitses had to backtrack with that.

9:39 PM  
Blogger Lee R said...

Rio Bravo, is indeed a pleasure. Someone once said it was like spending a couple hours with old friends. I think you were talking about me, one of my favorite shows is Real McCoys, anything with the old Walter Brennan is always a treat for me. Ever see "Goodbye My Lady"? What a really great movie with great people in it too, Phil Harris and Walter paired, doesn't get much better.

Seeing all these TV favorite guys Ward Bond etc. in color and all together with Duke, what's not to like? Liked your take on this one and all your articles are always fascinating to read. Good stuff.

10:43 PM  
Blogger MikeD said...

Hi John,

That was a really enjoyable write-up on Rio Bravo. Thanks for all the effort that you put into it! In the spirit of your familiarity/likability theme, I just want to give a shout out to Myron Healey, the Burdette man whose hand wound up in the spittoon. I'd bet most folks going to see Rio Bravo at the theaters recognized him from his many appearances in B-movies and TV although they may not have known his name. He was always a welcome addition to any cast.

8:37 AM  
Blogger Reg Hartt said...

This is a vastly enjoyable film that for myself hits all the right notes. It appears to me that film history and film study is like the receding wave of a splash. As the ripples go farther out they get smaller and smaller, largely I feel because the new people write about the films they know will most attract students to their classes. The bottom line is money. To get that most offer the familiar.

How many students today know who Von Stroheim and Von Sternberg are without being told. On top of that they are most often told D. W. Griffith was a racist and THE BIRTH OF A NATION is a racist film. Neither statement is true but, boy, do they get hostile when I speak up for Griffith.

I was able to import a great print of Von Sternberg's first film THE SALVATION HUNTERS from Europe. The same source has a great print of BLIND HUSBANDS, Eisenstein's OCTOBER and POTEMKIN both with the Edmund Meisel scores which really kick ass! Wow! OCTOBER is restored, looks awesome and with Meisel's score restored it is easy to see why people raved about it.

John Wayne was a unique personality not afraid to play off his image. He was a huge star. Today when cinemas routinely seat hundreds instead of the thousands of your youth and mine the film going experience has become smaller than life instead of larger. There was a time when ministers and priests routinely gave sermons denouncing the movies as well as those who worked in them. Today the movies themselves are often sermons or, worse, "uplifting experiences."

Your comment about personalities unfortunately rings all to true.

I once did presentations in 1,000 seat cinemas. Where those theaters normally pulled only at most 60 or 80 people my programs had hundreds turned away for lack of space. Try as I might to get the theater to re-book the program asap to build on the momentum the people who ran them refused to listen. How many times have I heard, "At what college/school/university did YOU study?" The only school for the cinema IS the cinema. Unfortunately those classrooms are shutting down more rapidly than ever. "Invent nothing. Deny nothing. Stand up. Speak up. Stay out of school," writes David Mamet in TRUE AND FALSE (the theater)and BAMBI VS. GODZILLA (the movies). I'm with David. I tell kids to stay out of school and make movies. They say, "Our teachers warned us you'd say that." It takes courage and spirit to be a Howard Hawks. That kind of person is one a kind.

12:43 PM  
Blogger Lionel Braithwaite said...

The new Avengers movie has had a ton of funny moments, even if the comic book recently hasn't.

My casting for a remake of Rio Bravo: 😉

John T. Chance: Hugh Jackman

Dude: Adrien Brody

Colorado/Ryan: Chris Evans

Feathers: Kristen Stewart

Stumpy: Bruce Willis

5:33 PM  
Blogger StevensScope said...

For this is such an entertaining film with such Human interest & so very likeable for the folks on both sides of the camera(did the cast have as much fun as the audience?). "Rio Bravo" is such a landmark classic film, and there isn't much more to say about it, or add to it, anything new, excepting current dialogue/reviews from a some newer folks who probably and seriously don't know anything about Ricky Nelson, but may know a little about the co-starring ALREADY-made-icons here. Maybe LESS about icons- here who were '-IN- the makings'. Perhaps unaware then, that--THIS is Dean Martin-- a few years after his break with Jerry Lewis, and just STARTING his new-found solo career with 3 winning character-roles in a row! This, and in : "THE YOUNG LIONS" (FOX-58) and "SOME CAME RUNNING" (MGM-59). THIS IS JOHN WAYNE who, after somewhat of a slump, hits HIS high note here and then in 3 more westerns in a row, as he morphed himself into the grizzled character he GENERALLY portrayed from here on in this, the beginning of what I prefer to call the best period of his ACTING FILM CAREER, the final "DUKE IMAGE" built into his character portrayals from then on, which continued with: "THE ALAMO" (UA-60), "NORTH TO ALASKA" (FOX-60), and in MIKE CURTIZ' final film "THE COMANCHEROS" (FOX-61).Then-- THIS IS>>>! Ricky Nelson, who was ROCKETING during this period, at the top of his game in 1959-- taking over and re-inventing Rock & Roll while ELVIS was away in the Army. In "Rio Bravo" he proves himself worthier in acting skills far and away and above the TV show he was trapped in seemingly forever... Sure, We ALL loved "OZZIE AND HARRIET", but THAT was seen on a B&W TV SCREEN--and besides, we never knew when, IF time allowed in that 30 minute TV SLOT- whether or not RICKY would be singing a song for HIS fans at the end of the show! HERE IN "RIO BRAVO" he has THE ROLE of his lifetime; AND singing TWO songs in A TECHNICOLORED WESTERN from Warner Bros. was nothing short of TERRIFIC! (note: a song 'RESTLESS KID" was cut for some unreasonable reason from the final edit). I saw "RIO BRAVO" during its' DOWNTOWN PREMIERE at the ORPHEUM THEATRE in San Diego, one of 'those old picture palaces', now long gone. All of us gathered in those cramped theatre seats! ( Did they really crowd us together like sardines- in -a -can with those uncomforting-jammed-together-seats, back then!!??) We were delighted just to FIND even ONE of those seats VACANT for us to watch this wonderful TECHNICOLOR blockbuster of a film as it came winding off of it's 35mm REELS. 1959--- THIS WAS a glorious year at the movies; we saw a lot of the (then) current favorite TV people up there on a big screen IN COLOR! It was REALLY something MAGICAL for sure. The Warner Brother here at the top of HIS game, always, was boss magician Jack, who really ran the show; and what a show he had here! I remember being such a BIG fan of RICKY NELSON I would stay at the double feature theatre well into another continuous performance just to see him sing in that scene again! We couldn't ever hear WHAT he was singing(all fans screaming) but-- what the ?! I got my movie ticket stub and another soda and was ready to watch it again! What a joy for WB western fans to find later bookings on the local city-wide theatre-circuit, billed together with ANOTHER '59 WARNER BROS.FAVORITE-- "YELLOWSTONE KELLY"!! 1959--what a wonderful time it was then, at the MOVIES!!

6:09 PM  
Blogger fairmn said...

This is one of your best articles, which is saying a lot. I've always wondered why intentionally slow paced movies are ever made, and you provide an explanation. Can't help but see a parallel between the dominance of Westerns in the '50's and live sports on TV up until now (NFL and Olympics especially). At first they're shown for the story, but the viewers get used to the story line and gameplay. Then the focus shifts to the personalities. Even as the storyline becomes stale, the format now reaches its height of programming dominance because it's perceived as the default choice, the "no one ever got fired for buying IBM" selection. At some point the backlash no longer stays at bay, and there's a sudden switch to the next Big Thing, which borrows handily from that which it replaces.

10:56 PM  
Blogger Robert Fiore said...

I've long wondered if Rio Bravo wasn't in some sense an answer to High Noon, in the way the sheriff explicitly does not want amateur help in his confrontation with the killers.

2:25 AM  
Blogger Jerry Kovar said...

Arguably Hawks' best since 1948's RED RIVER and his last great, or even good, film. (I am still angrier than hell at Hawks and Wayne for EL DORADO.) A while back I found this excerpt, which I found interesting, from a Roger Ebert essay on the film:

"Howard Hawks didn’t direct a film for four years after the failure of his "Land of the Pharaohs" in 1955. He thought maybe he had lost it. When he came back to work on "Rio Bravo" in 1958, he was 62 years old, would be working on his 41st film and was so nervous on the first day of shooting that he stood behind a set and vomited. Then he walked out and directed a masterpiece."

8:09 AM  
Blogger Kevin K. said...

Rio Bravo is one of those movies I always DVR when it turns up on TCM, but wind up deleting from the list, sometimes even before it airs. I think I need a rainy Sunday afternoon in order to actually sit down and watch it.

Maybe Ricky's third song was when the movie was three hours long, and the publicity department believed that was going to be the final cut.

11:00 AM  
Blogger John McElwee said...

A first comment on RIO BRAVO, and from Griff:

Dear John:

I am usually the least enthusiastic guy about the work of Howard Hawks in any given room, but I thought your very specifically themed discussion of how Warners and Hawks marketed and tempted America with the coming of RIO BRAVO was really canny, sage stuff. Certainly among the best Greenbriar columns of the past year. Many write about films, but few attempt to present any context for the time and conditions that helped dictate or encourage key aspects of its production. What you do so often and with consistent insight and wit is pure historical gold. I'm no big fan of BRAVO (I am fond of EL DORADO*), but it must have been really something to encounter it back in the day -- and you explain why. Time to start compiling another book, John.

I can't account for the lack of comments on your piece. I can only hazard to say that like me, your readers must have been so held by your research and reasoning, there was no response or comment to make.

I am for some reason reminded of an old story about the production of A NIGHT AT THE OPERA, in which the boys and one of the writers bring in a new scene for Thalberg to peruse. The executive reportedly read the scene without cracking a smile. Someone in the group dared to ask, "Well... what did you think?" The famously quiet, analytical Thalberg replied simply, "That's the funniest thing I ever read."

I don't know why, but I've always understood and appreciated that anecdote.

-- Griff
* My memory fails me. Doesn't Mitchum actually reach into a similar spittoon for a dollar in DORADO? I sort of understand why Hawks might not have had Martin do this in BRAVO -- at the time, Dino was still new to this sort of thing, and the director may not have wanted to take his screen persona down quite that far. [I like Martin in many films, particularly westerns, and he could easily have pulled the move off, but this might have been too early in his post-Jerry career for the public to accept without laughing.] On the other hand, it's practically the kind of thing you'd expect Mitchum to do.

2:49 PM  
Blogger Barry Rivadue said...

I can only contribute a not very related memory, but it always stayed with me. I recall being taken to see the John Wayne western McClintock!, and it was a rousing evening. It was an unpretentious comedy that was the kind of easygoing night out with a favorite star and setting that seems more mythic now in memory.

8:20 PM  
Blogger StevensScope said...

Well folks, I MUST confess that, the other day, after reading John's excellent tribute, I had my comments filling a long page exclaiming why I love "RIO BRAVO"--( and also wondered why -then-no-comments were in, yet!?) Well,.... I pushed a wrong key and lost the whole thing!! So I'll just relay this: I'll never tire of repeated viewings of this wonderful film, released to theatres during that glorious year of 1959. "RIO BRAVO". One of the Immortal classics of the CINEMA, for sure.

10:45 PM  
Blogger Dave K said...

Well, Griff nailed it on you nailing it on RIO BRAVO in historical, industry and marketing context, John. Yes, just a terrific piece! And like him, I have never been a big booster of the actual feature. I mean, I've found myself joining it in progress time and time again when it would pop up on the tube... but, as far as I'm concerned, way down the list of those fifties Western monuments like SHANE, THE SEARCHERS, all the Scott-Boetticher-Kennedy jobs and especially HIGH NOON (which, of course, Hawks intended to counter slam with BRAVO.) I have hung onto my 16mm print of that trailer you describe though, one of my all time favorite trailers!

I'll admit what fondness I have for RIO BRAVO today is due largely to how well Nelson and Martin come off as much as anything. And poor Angie Dickinson! Unlike Katherine Hepburn or Paula Prentiss she just couldn't figure a way to make that standard issue Howard Hawks sexy-nutjob-stalker part not annoying much less interesting!

1:09 PM  
Blogger MikeD said...

Hi John and Griff,

I know I posted a comment the first day the Rio Bravo review went up but I guess it was lost in the ozone. I agree that your blog was a well done, thought out discussion of the movie. Nice job! My first encounter with Rio Bravo was a TV broadcast which I think was on one of the big three networks. Did this ever run on a "?? Night at the Movies"? I probably wasn't thinking of it at the time ( I was probably 10-12) but like you said, all those familiar faces greatly added to my enjoyment. One of those faces was my favorite baddie, Myron Healey, the Burdette man with his hand in the spittoon.
Great work once again John!

8:42 AM  
Blogger stinky fitzwizzle said...

Stinky agrees with Griff: presenting the movies within the historical context of its production and initial release is about the best thing there is on the Internets.

Stinky does love Rio Bravo, despite Ricky Nelson, who is pleasant but impossibly stiff, and the hit-or-miss improvisational style that Hawks loves so. Call Stinky old-fashioned, but he believes movies should probably be written first.

9:56 AM  
Blogger Beowulf said...

Geez, not many comments for these last three very informative essays.
>Let me add my two cents. I was 13 in 1959, so Ricky Nelson did NOTHING for me. If anything, he was a negative. And I've not changed my attitude toward his role in the film in the nearly 60 years since it came out. Angie Dickinson, on the other hand, was a major attraction then and now. And wasn't this around the time her legs were insured for a million or two for the sake of publicity? Never had much use for either RIO LOBO or EL DORADO as they seemed to be diminishing worth versions of BRAVO. The Wolf, man.

12:56 PM  
Blogger William Ferry said...

I haven't seen EL DORADO lately, but given it's the same thing all over again, you may very well be right. I never understood what prompted Hawks to do this plot three times.

6:37 PM  
Blogger Lee R said...

I made a comment but it never appeared as it should have. That could be an explanation as to the lack of comments.

10:16 PM  

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