A small-town sheriff in the American West enlists the help of a disabled man, a drunk, and a young gunfighter in his efforts to hold in jail the brother of the local bad guy.
As he virtually always does, John Wayne as Sheriff John T. Chance dominates the screen in “Rio Bravo,” a formulaic Western that transcends the formula by displaying a solid story and strong supporting cast. Watching Wayne in his prime, with the highly competent production design filling out his scenes, is nothing short of exquisite. As an actor – perhaps because he was so popular – he was often underrated by critics who failed to appreciate the subtlety of his craft. In the slower, pensive scenes in “Rio Bravo,” the introspective quality of Wayne’s acting speaks volumes regarding his humility and thoughtful contemplation.
Dean Martin co-stars as Dude, a recovering alcoholic who, when sober – the road to which is a painful ordeal to witness – can hold his own against the best if push comes to shove, as things often do. While Martin was a little too much to take in his faux-James Bond Matt Helm persona, his dramatic efforts such as “Rio Bravo” demonstrate his comfortable ease with unpretentious performances on the big screen.
Three-time Academy Award winner Walter Brennan plays Stumpy, the mouthy old man in charge of the town jail. He never knows when to shut up. Ricky Nelson appears as Colorado, a lightning-fast gunslinger who keeps his cards close to his vest.
John Russell, perhaps best known for the television series “Lawman” and as Clint Eastwood’s antagonist in “Pale Rider,” plays Nathan Burdette, a wealthy rancher whose brother Joe (Claude Akins) is locked up, accused of murder. The worst part of Joe’s punishment might have been having spent so much time in proximity to the incessantly chatty Stumpy.
A young Angie Dickenson plays Feathers, a woman with a shady past, a mind of her own, and an eye for John T. Chance. She gleefully tells him that the “T” must stand for “Trouble.” Western acting staple Ward Bond plays Pat Wheeler, Chance’s longtime friend willing to lend a hand to take on the Burdettes.
Howard Hawks was a highly competent journeyman director who helmed such films as “To Have and Have Not,” “The Big Sleep,” “Red River,” and many others. His work is consistent and competent. Arguably, Hawks might not quite qualify as a film auteur, which like the theater, gives the lion’s share of the credit to the writer, not the director.
Hawks stages a nice scene at the beginning of the third act when Dean Martin and Ricky Nelson show off their musical talents. The director probably realized it would be a shame to squander their talents for the picture. Though Hawks was reluctant to cast Nelson as the young gunslinger, he later admitted that the teen idol likely contributed significantly to the gross revenues.
There are also a few smoldering scenes with Wayne and Dickenson, each trying to figure the other out. Eventually, they come together in storybook fashion in time for the closing credits.
The cinematography in “Rio Bravo” is first-rate, undoubtedly one of the many attractions the movie held for viewing audiences. For example, the stately field of saguaro cacti on location shooting near Tucson at sunset is enough to make one pine to be a cowboy in the Old West. “Rio Bravo” was the 7th top-grossing film in 1959 behind such classics as “Ben Hur,” “Some Like It Hot,” “Anatomy of a Murder,” “The Nun’s Story,” “North by Northwest,” and “Pillow Talk.”
Written by Jules Furthman, Leigh Brackett, and B.H. Mc Campbell, the plot and dialog take enough diverse routes to keep things interesting. “Rio Bravo” represents one of the best Westerns ever produced during Hollywood’s Golden Age – a well-crafted masterpiece that more than stands the test of time over sixty years after its initial release.
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