Rio Bravo

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9.4/10

FilmFascination Rating

Apparently Rio Bravo was Quentin Tarantino’s “Girlfriend Test.” If he liked a girl and things got serious, he’d eventually show her Rio Bravo. Hilariously, he once said, “She better like it.” I think I might start doing the same. What did he do if she didn’t like it? No idea, I’ll have to ask him someday.

Rio Bravo begins with an almost silent sequence. Joe Burdette, brother of the influential Nathan Burdette, gets arrested for murder. And the moment that happens, you know things are going to spiral. Nathan isn’t your run-of-the-mill troublemaker – he’s powerful, has money, and has people who’ll do anything he asks. The sheriff knows he’ll make a move. The town knows it too. The only question is when and how.

The county jail isn’t exactly Alcatraz. It holds only a few, and fewer still are the ones guarding it. There’s John T. Chance, the Sheriff – calm, composed, and carrying the weight of law and order. Then there’s Dude, once the best with a gun, now back in town with heartbreak on his sleeve and alcohol in his veins. And finally, Stumpy – the old, crippled jailer with more fire in his spirit than strength in his legs.

If you’re someone who needs their Westerns action-packed, Rio Bravo delivers. But it does so on its own terms. Rio Bravo is a film that has action but takes it easy as well. This is a film that has action, yes, but it also lets you breathe. It builds tension but never overwhelms. You sit back, take in the moments, and enjoy the ride – never getting too tense.

And oh, those moments. The ones you carry with you. Like when Chance tells Stumpy that being too kind to Dude might just break him completely. That’s not just casual dialogue – that’s brotherhood, laid bare. Or those small but intimate beats, like when Dude’s shaky hands can’t roll a cigarette and Chance silently passes his own to him. These aren’t throwaway gestures – these are what make the film special.

That brings me to the characters. A lot of people say they’ve watched Rio Bravo multiple times. And I get it. If I find it playing on TV, I’m not changing the channel. There’s just something magnetic about hanging out with these folks – listening to John T.’s smooth talk, watching Dude grow stronger, or laughing every time Stumpy opens his mouth. And then there’s also Carlos and his wife, the charming Miss Feathers, and the cool, composed Colorado. Till the end of the film they all become your friends and this town doesn’t feel so new at all – it feels like home.

Casting-wise, it couldn’t be more perfect. John Wayne brings a quiet strength to Chance, a man carrying burdens but never weighing down the audience. Angie Dickinson adds that spark of romance and quick wit as Feathers. Ricky Nelson brings a fresh young energy as Colorado. And then there’s Walter Brennan as Stumpy – effortlessly funny without ever overdoing it. But the real surprise? Dean Martin. I didn’t know he could act like that. He’s the emotional heart of the film, with a layered, vulnerable performance that grounds the whole thing.

From the opening scene, it’s clear: Rio Bravo was made by a master. The gunfights are sharp, the emotional scenes are subtle, and the confrontations pack a punch. The locations are memorable too. Whether it’s the jail, the saloon, or the hotel, everything becomes part of a familiar rhythm. Structurally, this Western town is laid out like a map you’ve always known. You know where Dude waits, where the Sheriff’s office stands, and where the hotel sits across the street.

What’s wild is that Howard Hawks had lost his confidence after Land of the Pharaohs bombed. He was apparently so anxious while starting Rio Bravo that he threw up behind set during the first few takes. And then – he made this.

Most people will watch Rio Bravo for the first time and say, “That was fun, but I don’t get why people talk about it so much.” But then one day, trust me, you’ll find it playing on TV, and you won’t turn it off. You’ll enjoy it even more. And the more you watch it, the more you realize just how damn good it really is.

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