Hombre (1967)

  • I’m in the mood for a Western, y’all.
  • WHAT!!! Fredric March is in this?!!
  • I semi-like the opening credits, but I wish the vintage photographs hadn’t been purposefully grained over with a canvas-esque texture. That feels gimmicky.
  • First shot of that horse up the hill, from Newman’s viewpoint? A+. Nailed it. Then when the herd comes up behind it? Magical.
  • So far, the shots in this movie are really stellar.
  • Oh hey! Hombre (Paul Newman) got a haircut. I fee like they went too extreme with it, though – people with a mess of hair like that usually don’t go so short, so fast – they chop it in a way that’d still look long on an average person. I mean…would I rather spend a movie looking at Newman’s usual close-cropped stud haircut than at a messy wig bandana-ed to his head? Yes. But that doesn’t mean character-wise, it should have been done.
  • Cicero Grimes (Richard Boone) is a badass name!
  • The music in this is boring as shit.
  • Also, I think the writers thought that some of these lines they’re closing scenes with were way more impactful & clever than they actually are. There are lots of awkwardly ineffective closes to these scenes, and I dislike them.
  • Margaret Blye (Doris) looks like Naomi Watts in this.
  • Jessie (Diane Cilento) talks too much. She’d be way more appealing if she allowed *just* a hint of mystery into her personality. But…nope!
  • Hold up! (See what I did there?) Sheriff Frank (Cameron Mitchell) is in the Villain Squad? Didn’t see that one coming (but not in a Shocking Plot Twist!!! sort of way…just in a “Why?” sort of way).
  • Wow. Wow, wow. Paul Newman in the hold up scene. He plays the fear in his character so. goddamn. well. He’s got some talent, that one. I wonder if he ever amounted to anything.
  • I love how Newman just takes the fuck off after he saves the day & everyone chases after him like he’s got some magic beans or something. High-larious.
  • Fredric March, man. What a pro. And – everyone’s thinkin’ it, I’m just sayin’ it – he’s 70 years old in this movie, and he’s still a goddamn stud! Him in his suit & classy-ass hat? Dang, y’all.
  • (I know Favor (March) is not a good guy – but I like Fredric March so much that I’m like, “No, stick around! Please! We can be friends!”)
  • (Yes, I’m very in touch with reality.)
  • Loved the scene in the shack right before the end, were Jessie asks for Hombre’s knife. And there’s this moment (or several) where they just look at each other, and he decides for the both of them. I could watch that scene all day.
  • The last line (“He was called John Russell.”) I think perfectly demonstrates what prevents this really, really good movie from being a phenomenal movie. Those scene-closing lines just don’t have enough resonance – they need a little something extra for them to really, truly stick. And they just don’t. For that very last line, something like “His name was HE SHOT YOU, bitch!” would have done the trick. I mean…maybe something a little more elegant – but you get the idea.
  • Also, did you notice how on that ending fadeaway photograph, that gimmicky canvas filter was gone, and it was way more aesthetically effective? Yeah. I’m glad someone forgot to check that for consistency. Happy mistake.
  • Favorite exchange, I think:

Mendez (Martin Balsam): Hombre, which name today – which do you want?

Russell: Anything but bastard will do.

  • And: Braden (the Sheriff) was totally pointless. They coulda just left him in town & like…no one would have noticed.
  • It surprises me that this got zero Oscar nominations. Not a one!
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