„Rio Bravo was made because I didn’t like a picture called High Noon” (McBride 130). This is one of Howard Hawks’ comments on his movie Rio Bravo, which he directed and produced in 1959. In this essay, I will describe the main features of Rio Bravo, deliver a possible interpretation of the characters and finally point out some of the main differences and similarities between Rio Bravo and High Noon.
Table of Contents
1. Introduction
2. Setting
3. The plot – a short summary
4. Characterization
4.1 John T. Chance (John Wayne)
4.2 Dude (Dean Martin)
4.3 Stumpy (Walter Brennan)
4.4 Feathers (Angie Dickinson)
4.5 Colorado (Ricky Nelson)
4.6 The Mexicans
5. The role of the woman
6. The community versus the family
7. A comparison to High Noon
8. Conclusion
Objectives and Core Themes
This paper examines Howard Hawks' 1959 film "Rio Bravo" to analyze its character dynamics, thematic focus on group professionalism, and its narrative position in relation to Fred Zinnemann’s "High Noon".
- Character interpretation and archetypes
- The concept of the professional "family" vs. the community
- Gender roles and female representation
- Comparison of heroic behavior and values
- The film's reception and historical interpretation
Excerpt from the Book
4.2 Dude (Dean Martin)
Dude is the wrecked alcoholic, the lost son, the man without self-respect on account of an unhappy love-affair. Already during the first scene in the saloon, the viewer is made aware of the father-son relation between Chance and him, when Chance helps him, while Dude is humiliated by the villain, Joe Burdette. There is no dialogue at all during this scene and there is no need to, as everything is made clear by acting and appearance: Dude’s worn-out clothes, the shaking of his hands, his eager look at Burdette’s glass of whiskey. The development of Dude from the hopeless drunkard to a recovered and respectable member of society again is also one of the main topics of the movie. The sheriff seems to be the only person who still believes in Dude’s abilities, as he has kept his guns and his clothes for him: “Been waiting till they fit you again” (Chance). Dude has to undergo several trials of reliability, for example, in Burdette’s saloon, where people make fun of him: “Dude, you’ve been seeing things again. You better have a drink”. Initially, he passes these tests, until we come to one of the key scenes of the movie, when he begins to doubt in his abilities once again, since the Burdette gang overwhelmed him at his guard. He wants to quit the ‘family’ and Chance leaves the decision up to him, even saying: “He can take the whole bottle”. Eventually, Dude goes through a moment of catharsis and self-recognition, when he hears the tune of “The Deguello” and finally wants to quit drinking himself. The “cutthroat song”, which was played by “the Mexicans for the Texas boys when they had them bottled up at the Alamo” (Colorado), is a symbol for the approaching fight the group is awaiting. Their enemy, Nathan Burdette, instructed the Mexican band to play it the whole day in order to threaten the group.
Chapter Summaries
1. Introduction: Outlines the motivation behind the film "Rio Bravo" and the author's intent to interpret characters and compare the film with "High Noon".
2. Setting: Describes the physical environment of the film, emphasizing that it lacks the traditional Western landscape in favor of a stage-like atmosphere of threat.
3. The plot – a short summary: Provides a chronological overview of the four-day narrative and the formation of a professional group of heroes.
4. Characterization: Analyzes the individual members of the group, including Chance, Dude, Stumpy, Feathers, Colorado, and the depiction of the Mexican characters.
5. The role of the woman: Examines the function of Feathers as an independent, romantic force within a predominantly male heroic narrative.
6. The community versus the family: Explores how the film focuses on the interpersonal "family" of the sheriff rather than on the abstract surrounding community.
7. A comparison to High Noon: Contrasts the behavioral approach of the two films' heroes and their different underlying philosophies regarding help and support.
8. Conclusion: Synthesizes the film's interpretation as an antidote to "High Noon", highlighting values such as honor, integrity, and self-respect.
Keywords
Rio Bravo, High Noon, Howard Hawks, John Wayne, Western, Characterization, Film Analysis, Heroism, Professionalism, Gender Roles, Dude, Stumpy, Feathers, Community, Narrative
Frequently Asked Questions
What is the primary subject of this paper?
This paper is an analytical study of the 1959 Western film "Rio Bravo", focusing on its character development, narrative structure, and thematic contrasts with "High Noon".
What are the central themes discussed?
Key themes include the concept of the professional group or "family", the role of the individual hero, gender dynamics in the American West, and the influence of political context on Western cinema.
What is the author's research goal?
The goal is to interpret the main characters of "Rio Bravo", explain the formation of the group, and contrast its heroic philosophy with that of "High Noon".
Which methodology is employed?
The author uses film analysis and a comparative approach, referencing critical literature and dialogue transcripts to support the interpretations.
What does the main body of the work cover?
It provides a summary of the plot, detailed character profiles, an analysis of the role of women, a discussion on community dynamics, and a direct comparison with Fred Zinnemann's film.
What are the essential keywords for this paper?
The core keywords include Rio Bravo, High Noon, Howard Hawks, Western, Heroism, Professionalism, and Characterization.
Why is John T. Chance described as a father figure?
Chance takes care of his companions, protecting them and helping them overcome personal failings, which creates a dynamic similar to a parent-child or "family" structure.
How does the movie portray the concept of "help"?
Unlike in "High Noon", where the hero desperately begs for help, in "Rio Bravo", the hero initially refuses help to protect others but ultimately acknowledges the necessity of the group's support.
What is the significance of the "Deguello" song in the plot?
The "Deguello" serves as a symbolic warning and an instrument of psychological warfare used by the enemy to threaten the group before the final confrontation.
- Quote paper
- Birgit Wilpers (Author), 2007, 'Rio Bravo' - The antidote to 'High Noon'?, Munich, GRIN Verlag, https://www.grin.com/document/154729
