Year of Release: 1963
Director: Martin Ritt
Genre: Drama
Synopsis: A non-conformist clashes with his father for control of the family farm in Texas, and has other relationship issues with whomever crosses his path.
Within a film history context: Character studies of rodeo cowboys have been onscreen since the silent period of cinema. One of the first was silent film THE CALGARY STAMPEDE (1925), directed by Herbert Blache. In this movie, a cowboy is thought to have murdered his amour's father, but is declared innocent when the real culprit comes to light. In D. Ross Lederman's THE RIDING TORNADO (1932) Tim McCoy battles horse thieves and becomes involved in intrigue, while also falling for a young woman. Actor John Wayne featured in many films of the era as a rodeo cowboy, and Fred Allen's RIDE HIM, COWBOY (1932) was no exception. Here Mr Wayne takes on a horse which is thought to have committed murder, but his investigations lead to the real assailant, which lands him in jail. Many of the films of this era had a solid storyline which explored more dramatic angles, while others had a more comic outlook.
SOMEWHERE IN SONORA (1933), directed by Mack V. Wright, was a comedy drama of a cowboy attempting to curb the robbery of his lady friend's silver mine. In Lloyd Bacon's COWBOY FROM BROOKLYN (1938) a cowboy was challenged in his pursuit of a career in radio with a catch - that he show evidence that he was, indeed, a cowboy. In a similar humorous fashion, THE COWBOY AND THE LADY (1938) was a mistaken identity comedy, with a wealthy woman acting as a maid, and falling for a down-to-earth cowboy. The 1940s followed a comparable thematic line, with comedies, dramas, and musicals in the cowboy theme prevalent.
Gene Autry was the lead in CAROLINA MOON (1940), directed by Frank McDonald, with Mr Autry bringing justice to a place where landowners had been illegally divested of their holdings by an unscrupulous man, with some musical trimmings. In Joseph Kane's KING OF THE COWBOYS (1943), Roy Rogers joins forces with other men to end the demolition of government warehouses by criminals. Diverting from the previous themes, A LADY TAKES A CHANCE (1943), directed by William A. Seiter, mined more romantic territory. In this film, cowboy John Wayne entrances Jean Arthur, and they become an item. In contrast to the 1940s films, the 1950s movies brought with them less sentimental, and tougher explorations of the rodeo cowboy theme.
THE LUSTY MEN (1952), co-directed by Nicholas Ray and Robert Parrish, was a look into the more domestic aspects of a rodeo cowboy's life, with the wife of a cowboy baulking at her husband's involvement in the sport. Richard Fleisher's RODEO (1953), in a similar manner to THE LUSTY MEN, documented the impact of rodeo on a cowboy's life, and how this affected both himself, and his wife. Different in approach was BUS STOP (1956), directed by Joshua Logan. Starring Marilyn Monroe as Cherie and Don Murray as Bo, the film's cowboy protagonist, it explored the relationship between the leads, as Bo wanted to marry Cherie, and live with her on his ranch. Moving into the 1960s, John Huston's THE MISFITS (1961), was a realistic drama of a cowboy falling in love with a divorced woman, again with Marilyn Monroe, and the repercussions of this union. Following from this film, HUD also considered the cowboy theme in a true to life, and thoroughly effective manner.
HUD could be classified as the finest character study of a rodeo cowboy ever filmed, the most in-depth in terms of the psychology of its complex but engaging protagonist, aided by a gallery of equally finely etched supporting characters. It lacks the romanticism that marks films such as BUS STOP and the later JUNIOR BONNER (1972), but added its distinctive flair by concentrating upon the dynamic personality of Paul Newman. While HUD was not deadly serious as a movie, and had its share of amusing and diverting moments, these were not treated as comic asides, instead naturally occurring from the characters, which makes the film all the more lifelike.
HUD, also, did not fall into the trap of attempting to classify its central character as being either the good guy/bad guy stereotype, as he fell somewhere in between both categories. This was another feature that distinguished the character from earlier more benign rodeo cowboy incarnations from the 1940s, and further back in time. HUD, in its trailblazing manner, also opened the door for other movies to explore the rodeo cowboy theme in varying comprehensiveness, such as J.W. COOP (1972) and later films THE ELECTRIC HORSEMAN (1979) and URBAN COWBOY (1980), to name but a few examples, with many more spanning until the present day.
Within a film history context: Character studies of rodeo cowboys have been onscreen since the silent period of cinema. One of the first was silent film THE CALGARY STAMPEDE (1925), directed by Herbert Blache. In this movie, a cowboy is thought to have murdered his amour's father, but is declared innocent when the real culprit comes to light. In D. Ross Lederman's THE RIDING TORNADO (1932) Tim McCoy battles horse thieves and becomes involved in intrigue, while also falling for a young woman. Actor John Wayne featured in many films of the era as a rodeo cowboy, and Fred Allen's RIDE HIM, COWBOY (1932) was no exception. Here Mr Wayne takes on a horse which is thought to have committed murder, but his investigations lead to the real assailant, which lands him in jail. Many of the films of this era had a solid storyline which explored more dramatic angles, while others had a more comic outlook.
SOMEWHERE IN SONORA (1933), directed by Mack V. Wright, was a comedy drama of a cowboy attempting to curb the robbery of his lady friend's silver mine. In Lloyd Bacon's COWBOY FROM BROOKLYN (1938) a cowboy was challenged in his pursuit of a career in radio with a catch - that he show evidence that he was, indeed, a cowboy. In a similar humorous fashion, THE COWBOY AND THE LADY (1938) was a mistaken identity comedy, with a wealthy woman acting as a maid, and falling for a down-to-earth cowboy. The 1940s followed a comparable thematic line, with comedies, dramas, and musicals in the cowboy theme prevalent.
Gene Autry was the lead in CAROLINA MOON (1940), directed by Frank McDonald, with Mr Autry bringing justice to a place where landowners had been illegally divested of their holdings by an unscrupulous man, with some musical trimmings. In Joseph Kane's KING OF THE COWBOYS (1943), Roy Rogers joins forces with other men to end the demolition of government warehouses by criminals. Diverting from the previous themes, A LADY TAKES A CHANCE (1943), directed by William A. Seiter, mined more romantic territory. In this film, cowboy John Wayne entrances Jean Arthur, and they become an item. In contrast to the 1940s films, the 1950s movies brought with them less sentimental, and tougher explorations of the rodeo cowboy theme.
THE LUSTY MEN (1952), co-directed by Nicholas Ray and Robert Parrish, was a look into the more domestic aspects of a rodeo cowboy's life, with the wife of a cowboy baulking at her husband's involvement in the sport. Richard Fleisher's RODEO (1953), in a similar manner to THE LUSTY MEN, documented the impact of rodeo on a cowboy's life, and how this affected both himself, and his wife. Different in approach was BUS STOP (1956), directed by Joshua Logan. Starring Marilyn Monroe as Cherie and Don Murray as Bo, the film's cowboy protagonist, it explored the relationship between the leads, as Bo wanted to marry Cherie, and live with her on his ranch. Moving into the 1960s, John Huston's THE MISFITS (1961), was a realistic drama of a cowboy falling in love with a divorced woman, again with Marilyn Monroe, and the repercussions of this union. Following from this film, HUD also considered the cowboy theme in a true to life, and thoroughly effective manner.
HUD could be classified as the finest character study of a rodeo cowboy ever filmed, the most in-depth in terms of the psychology of its complex but engaging protagonist, aided by a gallery of equally finely etched supporting characters. It lacks the romanticism that marks films such as BUS STOP and the later JUNIOR BONNER (1972), but added its distinctive flair by concentrating upon the dynamic personality of Paul Newman. While HUD was not deadly serious as a movie, and had its share of amusing and diverting moments, these were not treated as comic asides, instead naturally occurring from the characters, which makes the film all the more lifelike.
HUD, also, did not fall into the trap of attempting to classify its central character as being either the good guy/bad guy stereotype, as he fell somewhere in between both categories. This was another feature that distinguished the character from earlier more benign rodeo cowboy incarnations from the 1940s, and further back in time. HUD, in its trailblazing manner, also opened the door for other movies to explore the rodeo cowboy theme in varying comprehensiveness, such as J.W. COOP (1972) and later films THE ELECTRIC HORSEMAN (1979) and URBAN COWBOY (1980), to name but a few examples, with many more spanning until the present day.
Overview: Martin Ritt was a distinguished director of dramas that explored humanity in an intimate, touching, but thought-provoking manner. His career spanned over thirty-three years, and twenty-six feature films. Making his directorial debut with 1957's EDGE OF THE CITY, which examined the relationship between a black man and a white man, it was the first of his cinematic forays into race relations. THE LONG, HOT SUMMER (1958) was a successful movie dealing with life in a steamy Southern town, notable for its pairing of Paul Newman and Joanne Woodward. He again worked with Mr Newman and Miss Woodward in PARIS BLUES (1961), a drama about American jazz musicians in Paris who fall for two American girls there. Another noteworthy drama was 1962's HEMINGWAYS ADVENTURES OF A YOUNG MAN. It was another of his movies with a male lead, starring Richard Beymer as a man coming of age after World War I military service, and other life events. The 1970s afforded Mr Ritt more opportunities to tackle controversial themes with his distinctive even-handed touch.
THE MOLLY MAGUIRES (1970) was an historical drama of Irish coal mine workers rebelling against the inequity of their working conditions. With THE GREAT WHITE HOPE (1970), Mr Ritt focused upon a black boxer and his white female friend, their relationship and difficulties presented to the audience to ponder and consider deeply. He again looked at race and family relations in the beautiful SOUNDER (1972), treating all his characters with the utmost understanding, and inviting viewers to do likewise with his moving rendition of a sharecropping family in the Deep South. THE FRONT (1976) was another film that spotlighted discrimination, this time with a man using his presence as a front to submit blacklisted writers' works as his own, but finding it difficult to stay impartial with the prejudices taking place. Mr Ritt once again studied discrimination in NORMA RAE (1978), this time with a textile worker trying to make her workplace better by instituting union practices, and finding it difficult to improve working conditions. Another triumph for Mr Ritt, it garnered Sally Field an Oscar for her role as the determined Norma Rae. HUD, likewise, was another tour de force for Mr Ritt, and a movie that earned Oscars for performers Melvyn Douglas and Patricia Neal.
Adapted from Larry McMurtry's novel of the same name, Mr Ritt has made a film that is entirely satisfying, and in which deficiencies cannot be found. HUD flows exceedingly well from scene to scene, the editing greatly assisting its cause, the storyline handled with simplicity but sympathy for the main characters by the director and writers, and the actors delivering their performances in an unaffected, down-to-earth manner. Similar to THE LAST PICTURE SHOW (1971), also based upon a novel by Mr McMurtry, the source literature is of a very high standard, and the screen translation, is, again, flawless. Mr Ritt exhibits the same compassion and impartiality in HUD that he displayed in his other films, specifically SOUNDER and NORMA RAE, with honorable characters going up against those of the opposite persuasion, thereby allowing the audience to watch situations unfold, presenting both sides of the equation. A film that should be seen by all film buffs at least once in their lives, HUD stands tall as Martin Ritt's masterpiece, and a wonderful contribution to world cinema.
THE MOLLY MAGUIRES (1970) was an historical drama of Irish coal mine workers rebelling against the inequity of their working conditions. With THE GREAT WHITE HOPE (1970), Mr Ritt focused upon a black boxer and his white female friend, their relationship and difficulties presented to the audience to ponder and consider deeply. He again looked at race and family relations in the beautiful SOUNDER (1972), treating all his characters with the utmost understanding, and inviting viewers to do likewise with his moving rendition of a sharecropping family in the Deep South. THE FRONT (1976) was another film that spotlighted discrimination, this time with a man using his presence as a front to submit blacklisted writers' works as his own, but finding it difficult to stay impartial with the prejudices taking place. Mr Ritt once again studied discrimination in NORMA RAE (1978), this time with a textile worker trying to make her workplace better by instituting union practices, and finding it difficult to improve working conditions. Another triumph for Mr Ritt, it garnered Sally Field an Oscar for her role as the determined Norma Rae. HUD, likewise, was another tour de force for Mr Ritt, and a movie that earned Oscars for performers Melvyn Douglas and Patricia Neal.
Adapted from Larry McMurtry's novel of the same name, Mr Ritt has made a film that is entirely satisfying, and in which deficiencies cannot be found. HUD flows exceedingly well from scene to scene, the editing greatly assisting its cause, the storyline handled with simplicity but sympathy for the main characters by the director and writers, and the actors delivering their performances in an unaffected, down-to-earth manner. Similar to THE LAST PICTURE SHOW (1971), also based upon a novel by Mr McMurtry, the source literature is of a very high standard, and the screen translation, is, again, flawless. Mr Ritt exhibits the same compassion and impartiality in HUD that he displayed in his other films, specifically SOUNDER and NORMA RAE, with honorable characters going up against those of the opposite persuasion, thereby allowing the audience to watch situations unfold, presenting both sides of the equation. A film that should be seen by all film buffs at least once in their lives, HUD stands tall as Martin Ritt's masterpiece, and a wonderful contribution to world cinema.
Acting: The acting in HUD is one of its most striking features, elevating it into a special movie viewing experience. In the lead role of Hud Bannon, Paul Newman offers one of his finest portrayals. Seething with passion, eyes frosty, delivering dialogue with sheer conviction, Mr Newman is utterly compelling as Hud. Seeming to lack any moral compass, Mr Newman displays a vulnerability in his character that only makes Hud all the more interesting, and complicated as a human being. Matching him is Melvyn Douglas as Homer, his straight-arrow father, which constitutes the father-son conflict that drives the majority of the movie's drama. Mr Douglas' earnest acting has a touching depth and tragedy that befits his stature as one of Hollywood's best-ever actors. Two other performances in HUD are also notable for the contributions in making the film the classic it is.
The versatile Patricia Neal is thoroughly convincing as the world-weary, put-upon Alma, the domestic assistant in the Bannon household. An actress with the ability to transfix the audience in her movies, Miss Neal makes the most of her participation in the film as Alma, sharing a nice chemistry with all three of her male co-stars, in particular, Paul Newman and Brandon de Wilde. As Lonnie in HUD, Brandon de Wilde exhibits a knowing, easy-going youthful appeal that is in sharp contrast to Hud's rough-edged, raw masculinity. As the youngest member of HUD's ensemble cast, he also had the skill to carve out a fine performance, holding his own with the other excellent cast members. An actor who unfortunately died too early for audiences to see more of his work, he is in great form in HUD. His scenes with Melvyn Douglas show a definite connection between the actors with their grandfather/grandson relationship, with Paul Newman a competitive/kindred bond, and a playful, nuanced connection with Patricia Neal.
The versatile Patricia Neal is thoroughly convincing as the world-weary, put-upon Alma, the domestic assistant in the Bannon household. An actress with the ability to transfix the audience in her movies, Miss Neal makes the most of her participation in the film as Alma, sharing a nice chemistry with all three of her male co-stars, in particular, Paul Newman and Brandon de Wilde. As Lonnie in HUD, Brandon de Wilde exhibits a knowing, easy-going youthful appeal that is in sharp contrast to Hud's rough-edged, raw masculinity. As the youngest member of HUD's ensemble cast, he also had the skill to carve out a fine performance, holding his own with the other excellent cast members. An actor who unfortunately died too early for audiences to see more of his work, he is in great form in HUD. His scenes with Melvyn Douglas show a definite connection between the actors with their grandfather/grandson relationship, with Paul Newman a competitive/kindred bond, and a playful, nuanced connection with Patricia Neal.
Soundtrack: Elmer Bernstein's gentle guitar score perfectly enhances HUD, adding a solemn aura that is in keeping with the film's reflective, subtle nature. The movie features versions of the main score sparingly, with other naturalistic uses of music, such as Lonnie's radio, occurring within the film's diegetic world.
Mise-en-scene: The cinematography by James Wong Howe, as with the acting, is another unforgettable component of HUD. The barren nature of the landscapes, the streetscapes with their beautiful, stylized stores, for example, are captured in all their visual power by the talented Mr Howe. The widescreen photography is just as effective on the small screen, though the big screen is the place to appreciate the film in its supreme glory. The black and white photography works wonderfully, emphasizing the dusty nature of the land, as colour stock would have possibly made the film visually even more attractive, but less hard-hitting than in its monochrome perfection.
Award-worthy performances in my opinion: Paul Newman, Melvyn Douglas, Patricia Neal, Brandon de Wilde.
Award-worthy performances in my opinion: Paul Newman, Melvyn Douglas, Patricia Neal, Brandon de Wilde.
Suitability for young viewers: No. Adult themes.
Overall Grade: A
Link: IMDB Page
Trailer
