“When people ask me where they should begin in looking at classic films, I never knew what to say,” claims Roger Ebert a well-known movie critic. “Now I can say,” He continues, “’Plunge into these Great Movies, and go where they lead you.’” This commentary comes from Ebert’s self-titled column in 2000 where he comments on his view of what a great movie is. He now provides a listing called Great Movies on his website, where a variety of different film genres are represented. One such movie entitled Rio Bravo is one of the films he recognizes as great and I believe it is deserving of the ‘classic’ stamp. After sitting through almost two and a half hours of 1959 old-western style film, I arose with a greater appreciation for the craft and a stronger confidence in Roger Ebert’s criticing abilities. Undoubtedly, Howard Hawks' Rio Bravo is rightly classified as ‘great’ because of it's all around qualities, and its age has nothing to do with it.
One particular scene in the movie features a beautiful, gambling women who had travelled from out of town and the main character Sheriff Chance, played by John Wayne, reflects the classic love connection in all chick flicks. She is in desperate need of a lover because hers was killed in result of a bad gambling pursuit. He was in need of a companion because his troubles carrying the load of the city were getting to him. So they both needed each other and their love affair was amusing. Another noteworthy relationship in the movie was in the friendship between the Sherriff and his long time, usually druck friend Borichan. He and the sheriff once fought and shot with great ease, contending with any enemy who would try, but during the first scenes of the movie, he had been taking over by his alcoholism. However, by the end of the film, the Sheriff, through his fatherly demands for him to get over his depressions, was able to coach Borichan into a strong character, not giving in to his temptations.
Finally, the movie provided a beautiful action element that could not be ignored. Towards the end of the movie, the plot took a turn for the worst. Borichan, while still weak in his character, was knocked off of his horse and kidnapped by the intruding cowboys, who were in search for their imprisoned brother. "The brave sheriff takes a stand against the outlaws who threaten a town.... a familiar Western situation," Ebert comments about this scene. For me, even though the movie seemed to be coming to a halt, this scene created a whole new twist, and I was engaged even more.
When posed with the responsibility to watch a movie that, because of its age, would otherwise be considered useless, I did not hesitate. I have always enjoyed older films especially those with an entertaining element that includes singing or dancing. While I am not exactly a film snob, my mind has not been tainted by the media and its powerful suggestiveness of what is quality and what is not. Rio Bravo, produced and directed by Howard Hawks in 1959, depicts the life of a small town Sherriff who is having trouble protecting the citizens from a group of terrorizing cowboys. By the end of the movie he triumphs with the help of his long time friend, Borichan (Spanish for drunkard) and a young feisty cowboy played by Ricky Nelson. I was moderately surprised at the quality of this movie because of its sophisticated plot. It was filled with compassionate relationships, the classic action of a western film and humorous wit.
A well-known playwright, actor, and multi-million dollar movie director named Tyler Perry was once harshly criticized by the likes of movie critics like Roger Ebert. Tyler Perry’s film reviews received such bad commentary that he refused to acknowledge them and continued to develop his movies under his own approval. When I realized how the relationship between a movie critique and the success of a movie are not dependent upon one another, I began to question the authenticity of film critics like Roger Ebert. However, after watching Rio Bravo, one of the films on his list, I realized that there is a great difference between good film and bad film. Tyler Perry’s film lack universal expression, depth of thought and fluency of scenes. After watching a critic approved film I can appreciate the expertise. Good film should be relative to all audience members. Thus, the relative quality of a film is within the balance of human experiences. Because of this, though I am not an avid movie watcher, I would dive into Ebert’s Great Movie List again and again.