Noutions Good movie, but best of all time? Hardly . . .

Reptileenbu Did you people see the same film I saw?

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Roxie The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

SusanJL Wayne was great, a flawed hero, and the way they aged him and he acted made it so convincing he was supposed to be around 60 by the movie's end. Clift was great, too. But that ending - yikes!!!! Totally unconvincing!! Clift and Wayne grinning at each other minutes after almost killing each other, with no concern for Cherry, whom Wayne just shot??? Bizarre!!! But otherwise great film. I have given this film more thought, and this is how I would have made it. I would still have Wayne livid when Clift takes over the drive, but NOT threaten to kill him. I would have Wayne tell Clift he was going to show up and confront him some day, leaving it as a veiled threat of some type of retribution. But when Wayne shows up at the end, I would let the surprise be that Wayne realized Clift did the right thing and - like when Jacob and Esau meet in the Bible - they make up. I would just have Wayne shoot Cherry's gun out of his hand and not really hurt him. Then I'd have Wayne make a dramatic speech to the effect that "it takes a big man to admit when he's wrong and I'm a big man" and then show Clift how the brand will be changed to include him with the M.

Wuchak Released in 1948 and directed by Howard Hawks (with Arthur Rosson), "Red River" stars John Wayne as a tough ranch mogul who heads a cattle drive from Texas to Missouri, the culmination of over 14 years of work. But his authoritarian abuse along the way causes his men to revolt, led by his adopted son (Montgomery Clift). Walter Brennan in on hand as the rancher's sidekick while John Ireland plays the son's friend/rival. The plot is essentially Mutiny on the Bounty in the Old West on a cattle drive. For that reason alone the story's compelling, yet it isn't anywhere near as good as Brando's or Gibson's versions of the infamous mutiny ('62 and '84 respectively). Nevertheless, it's great seeing Wayne when he was lean & mean at 40; and the tensions that slowly build leading to the gripping confrontation are well done. Moreover, Clift and Ireland are interesting, the former a precursor to the pensive style of Marlon Brando and James Dean. Speaking of Clift and Ireland, people confused about their sexuality tend to be obsessed with reading a "homosexual subtext" into their relationship, but it doesn't exist. Yes, the characters talk about each other's guns, but that's because they're young gunslingers. It's purely shop talk. Cherry (Ireland) is clearly interested in some past babe he met in a town and Matt becomes romantically enamored by Tess (Joanne Dru). Only pathetic SJWs who believe the drivel of their doofus libertine professors would read a "gay subtext" into the movie. The fact that Clift later fell into homosexuality and the corresponding guilt is irrelevant. While the movie's certainly worthwhile, it's held back by the B&W photography, dated score and a couple other old-fashioned elements. The dramatic scene between Clift and Dru during the Native attack on the wagon trail is eye-rolling and unbelievable. Moreover, the Arizona locations are disingenuous seeing as how Arizona looks nothing like the geography of the actual Chisholm Trail in Central/East Texas and the plains of Central Oklahoma & Kansas. The film runs 133 minutes and was shot in Arizona with studio work done in West Hollywood. The screenplay was written by Borden Chase & Charles Schnee based on Chase' story. ADDITIONAL CAST: Coleen Gray, Noah Beery Jr., Harry Carey Jr., Harry Carey and Chief Yowlachie. GRADE: B-

guisreis This great film is an archetypical Western. Trust depends on a peculiar game of bravery and intimidation. Taking risks is always part of this game of men and cattle. Fear and punishment are the law. Men cannot accept they are wrong, as imposing themselves is essential for keeping authority. Authority is perceived as necessary in a place where the strong gets what he wants and the weak is killed if he does not accept to obey. John Wayne has one of his best roles: an authoritarian and stubborn cowboy and gunman. There are quite nice characters, besides Wayne's Tom Dunson, each one representing one archetype: Monty Clift is the good and handsome gunman Matt Garth, Walter Brennan is the funny elder Groot, and John Ireland is the arrogant and dangerous Cherry Balance. The movie is also very well filmed, with quite impressive cattle footage. In my opinion, this is one of the best Westerns made in the United States in the classic times of this genre, before the 60's and its many reinventions: perhaps only High Noon and Ox-bow Incident are better.

Python Hyena Red River (1948): Dir: Howard Hawks / Cast: John Wayne, Montgomery Clift, Walter Brennan, Joanne Dru, Mickey Kuhn: Western classic with a title that not only addresses an overwhelming cattle drive but it also symbolizes the survival of generations. John Wayne plays a stubborn cattle hand named Thomas Dunson whose wagon train is wiped out by Indians leaving a lone boy survivor. Several years pass and Dunson's successful rise of cattle and selling beef comes under threat when poverty strikes so he recruits several men to drive the cattle to Missouri where a chance to sell the cattle is promising. From here the screenplay becomes extremely episodic with a stampede caused by someone's idiocy. Eventually a division is caused when Dunson's leadership becomes too heavy handed and his cattle is overtaken. Howard Hawks captures the era but the climax is corny with its fistfight make up conclusion. Wayne is effective as the hard driven Dunson who demands commitment when a task is underway. Montgomery Clift is superb as the grown boy who will challenge Dunson's authority. Walter Brennan plays Dunson's partner through life. Only Joanne Dru is pathetic as a woman in love with Clift after an awkward meeting. Mickey Kuhn plays the younger version of what would become Montgomery Clift. Theme of generation works when the screenplay drowns in corny clichés. Score: 6 ½ / 10