LeonLouisRicci There were Early Attempts in Post-War Hollywood to Revise the Portrayal of "Indians"(Native Americans) in Movies with a more "Sympathetic" or "Realistic" Account. "Broken Arrow" and "Devil's Doorway", both from 1950, are Two Outstanding Examples.This 1967 Film is one that Deserves some Credit for Continuing the Noble Trend. Director Martin Ritt (a well known Liberal) made this with Paul Newman in the Lead as a White Man Raised by the Apaches.The Film Opens with Newman, in full Native Garb, along with other Tribe Members, Symbolically Corralling a Herd of Wild Stallions Reflecting Their Own Doomed Future. Its Poetic and Beautifully Shot by James Wong Howe. "Hombre", the Newman Character is told that He has Inherited, from His White Father, a Boarding House and We are Taken in another Direction. With His Long Hair Cut and sporting White Man's Duds, He's off to the Other Side of the Tracks.What He finds there is not to His Liking and Things become a Clash of Cultures aboard a Stagecoach where Elmore Leonard's Story can Offer Up some Dialog that can "Cut It" like a Knife.As the Production Code was Cracking, there can be Found some Edgy Sexual Innuendos along with Banter about Racism and Respect. It has Now Become More than Your Standard John Ford Western. It's a Clash of Civilizations about what is Civilized and What is Not."If you're hungry enough, you'll eat a dog and fight for the bones." Says "Hombre" to a Female Passenger who shows Disgust at "Reservation Residents". The Scathing Exchanges continue the Philosophizing until the Predictable Conclusion.Diane Cilento is Extremely Effective, Charming and takes Acting Honors as a Worldly Woman. Richard Boone, Martin Balsam, Frederic March, and Frank Silvera also add Gravitas to the Proceedings. Newman, in a Thankfully Restrained Performance is Fine.But the Strength of the Film is the Script and Story that uses the Civil Rights Movement (blazing at the time) for a Window to Widen the Scope of Discussion and takes the High Road and Looks Down on the Injustices both Past and Present.

Jugu Abraham The subject and the story are commendable. A revisionist Western if there was one. Racism against the native Indians is highlighted. So are the negative traits of the white men who made money out of the subjugation of the the native Indians. Even the attitudes towards Mexicans are well etched.Ultimately, the film is all about values and humanism and less about killing.The opening sequence of the black stallion leading wild horses is amazing.Ritt is a director who was a cut above the rest, especially his films on anti-racism (Edge of the City, The Great White Hope). He chose his subjects well.Commendable performances (Newman, Boone and Balsam) and a good script.

Cristi_Ciopron Impressive movie, travelers in a stagecoach, and then by foot, no humor (the seeing of the legs was nice), no spoofing, delightful landscapes, realist relations, the director thought it in terms of drama. A drama with an exciting cast: Newman, March, Balsam, Boone, and … the mellower blonde from 'The Wicker Man' (there, a teacher), astounding cinematography, and a good director, who does a work of exquisite craftsmanship, the fans have already quoted here the lines, the scenes; it's _unsurpassable, and should be acknowledged as the equal of more famous masterpieces. As with other masterpieces, it is offered the work itself.It's a drama; an action drama, if you will. It accomplishes the possibilities of a ripe age. Its maturity shouldn't be taken for granted, as other movies from the same age, or slightly later, don't have it.Delightful suspense, superior cinematography, awesome performances, great dialog, sharp characterizations, and the acknowledging can go on; the movie has a sense a freedom, and belongs in the genealogy of the A western (as represented by earlier movies starring Cooper, Gable, Peck, Lancaster, Douglas, Stewart), being also the meeting of the style of Actors Studio with a beloved genre, by the unleashed director and one of his fetish players (before he took on the spoofs of Cassidy, Bean, Bill, thus defining a wholly different approach, in the ironic, revisionist, New Hollywoodian western). This movie begins with the metaphor of the wild horses being led by one of them to water, where they get trapped. Ritt made a keen social drama.

ducatimatz28 John Russell's reply to thug robber David Canary after he has shot holes in the stage's waterbags and asks Russell how far he's going to go from the robbed and disabled Stagecoach. Canary then realizes this is the same man that smashed him in the face with a Rifle butt after he harassed two of Russell's Indian Friends at Delgados earlier in the film when Russell still looked like an Apache. Bad move on Canary's part as he gets shot in the face by Russell as well as Mitchell's character too.One of Newman's best performances from a film that didn't get that much attention until it reached the cable TV Market. All great performances from supporting Cast. After watching Richard Boone as PALADIN on TV for years it was quite amusing to see him as the Bad Guy. The scene where he takes the solder's stage ticket and the attempted assault of Maggie Blythe's character lets you know he's not really a nice guy.I have probably watched this Film at least 30+ times and I never get tired of it. Aside from the costcutting phony blood scene coming from Canary's face after being shot by Russell.(which was added optically in post editing) this film has always been one of my Favorites. If HUD had been shot in color I would probably give it the Nod for a slightly better film, but both had outstanding performances by Newman..s.m.