#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – John ‘Hombre’ Russell is a white man raised by the Apaches on an Indian reservation and later by a white man in town. As an adult he prefers to live on the reservation. He is informed that he has inherited a lodging-house in the town. He goes to the town and decides to trade the place for a herd. He has to go to another city. The only stagecoach is one being hired for a special trip paid by Faver and his wife Audra. As there are several seats others join the stagecoach making seven very different passengers in all. During the journey they are robbed. With the leadership of John Russell they escape with little water and the money that the bandits want. They are pursued by the bandits. As they try to evade the bandits they reveal their true nature in a life threatening situation.
Plot: John Russell, disdained by his “respectable” fellow stagecoach passengers because he was raised by Indians, becomes their only hope for survival when they are set upon by outlaws.
Smart Tags: #arizona_desert #stagecoach #outlaw #journey #apache #apache_territory #apache_indian #arizona #arizona_territory #stagecoach_robbery #husband_wife_relationship #stranded #cowboy #outlaw_gang #racism #standoff #gunfight #shootout #abandoned_mine #based_on_novel #yuma_arizona
|7.4/10 Votes: 11,304|
|7.1 Votes: 127 Popularity: 10.864|
Antihero Actioner Rings True
Paul Newman sure could cut it in 1967. Not only did he give the performance of the year as Cool Hand Luke, but embodied the role of action antihero in this gritty, downbeat western as the laconic part-Apache John Russell, reluctant helper of assorted, sordid white people.
Russell has been living off the land with his Apache brethren when he is left a boarding house in a will. Russell sells the boarding house, which leaves its beautiful-but-weathered caretaker Jessie (Diane Cilento) on a long stage ride with Russell and a number of others with varied reasons for wanting to leave town. Unfortunately for everyone, one of them is a particularly ornery character named Cicero Grimes (Richard Boone).
“Hombre” is a coming-out party of sorts for writer Elmore Leonard; he had works adapted for screen before, most notably “3:10 To Yuma,” but “Hombre” brings out the quotability and toughness we associate with Leonard today. Credit Newman and director Martin Ritt, as well as cinematographer James Wong Howe, for giving the film the space and terse energy it needs to deliver the action without underselling the human drama. Russell doesn’t want to stick his neck out for people, and you don’t blame him, yet you understand why he helps them in the end.
Screenwriters Harriet Frank and Irving Ravetch provide many memorable lines. A favorite, when a thief is being robbed at gunpoint: “It looks like you did good and we did better.” But there’s a tendency to overexposition, of people giving their life story at a drop of a hat. Everyone except Russell, who keeps it very cool throughout. Maybe it helps Newman look better.
“Takes a lot to light a fire under you, don’t it?” Jessie asks him.
The story doesn’t exactly hold together well upon reflection, and there are a number of what Hitchcock called “icebox scenes.” One character walks around for days after being gutshot. Another is developed at length without having anything to do with the story except dying in it. But with “icebox scenes” you don’t notice the incongruities until later. You are caught up with the energy and vitality, especially when things begin to happen in the second hour.
Newman is working Eastwood/McQueen territory here, and working it quite well. An important conflict in the film pits him against Dr. Favor (Fredric March), a self-righteous Indian agent who looks down on Russell for his American Indian roots despite the fact Favor has done well off the Apaches. When Favor’s jaded wife (Barbara Rush) scoffs at the Apaches for eating dogs, Russell tells her if she was as hungry as they were, “you’d eat it. You’d fight for the bones, too.” Newman doesn’t raise his voice, doesn’t even lean forward, but his burning blues make his anger palpable.
Rush’s character is especially interesting, a reflection perhaps on the classic Leonard opportunistic female, or maybe even worse. I’m still not sure what she was playing at, but I enjoyed her character enormously. With Cilento, March, and especially Boone as well, you have performances that would provide engaging centers for other films, yet Newman towers over them without resorting to histrionics or even much in the way of humor (his wisecracks are few, however well-placed.)
“Hombre” is a near-classic Western that doesn’t play by classic rules. But it makes its points well, keeps you involved, and allows you to relish one of Paul Newman’s most indelible roles.
universally good performances in a solid Western
What really makes this classic Western work out so well is not just the fantastic direction by Martin Ritt, the sparse but suiting music score by David Rose, or the fantastic scenery. What really holds the movie together is its universally wonderful performances by the cast. Paul Newman, of course, portrayed a magnificent character. Here, he plays John Russell, a white man raised by the Apaches who has found little or no use for the ways of the white men and their prejudice toward the Native Americans. He inherits a boarding house from the man who raised him, but sells it for again, he has no use for it, and takes a stagecoach out of town along with several bigoted passengers who find his presence disturbing. As it turns out, one of them, Ceceril Grimes (portrayed in a blood-chilling way by Richard Boone) is the leader of an outlaw gang that holds them up and leaves them for dead. Newman’s character suddenly becomes the only hope for survival for the other passengers for the outlaws are going to be coming back for more water and the money they had intended to steal the first time around.
Co-starring Newman and Boone, we have a fine cast of actors who all fit their roles perfectly, even in the smallest parts, which hold the movie together and keep it sold. Fredric March, Cameron Mitchell, Martin Balsam, and especially Diane Cilento were also very good in their roles. I do feel that Richard Boone was the best performer in the entire cast, for he really made his villainous character really seem frightening. When he talks in a threatening sentence, as his type of characters ALWAYS do in some part of a Western, he really sends chills up our spines as well as the other characters’.
“Hombre” is also a fairly good technical success. The guns look like real guns rather than just mock-ups with blank cartridges and no recoil, the sound design is fairly good, and the hits look fairly real. Yes, there were a few points where the sped-up shots of the hit characters falling over looked overwhelmingly fast and not very convincing, but then again, what does it matter? It does not spoil the enjoyment level of the film.
Bottom line, “Hombre” is an excellent Western film that mostly gets its level of success and stability from the solid performances by its cast as well as its magnificent screenplay and direction. A true masterpiece full of professional craftsmanship, where everybody involved knew what he was doing.
Original Language en
Runtime 1 hr 51 min (111 min)
Director Martin Ritt
Writer Irving Ravetch (screenplay), Harriet Frank Jr. (screenplay), Elmore Leonard (novel)
Actors Paul Newman, Fredric March, Richard Boone, Diane Cilento
Awards 3 nominations.
Production Company Twentieth Century Fox
Sound Mix Mono (Westrex Recording System)
Aspect Ratio 2.39 : 1
Camera Panavision Lenses
Laboratory DeLuxe, Hollywood (CA), USA (color)
Film Length 3,025 m (Sweden)
Negative Format 35 mm
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm