Action / Western

Rotten Tomatoes Critics - Certified Fresh 100%
Rotten Tomatoes Audience - Upright 79%
IMDb Rating 7.4 10 9443


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May 20, 2015 at 01:36 PM



David Canary as Lamar Dean
Paul Newman as John Russell
Diane Cilento as Jessie
Richard Boone as Grimes
814.75 MB
23.976 fps
1hr 51 min
P/S 2 / 10

Movie Reviews

Reviewed by Leofwine_draca 7 / 10

A film that keeps you involved

HOMBRE is a very good American western featuring Paul Newman, hot off Cool Hand Luke, in the title role. If Cool Hand Luke saw Newman at his deepest and most emotional, HOMBRE sees him playing a totally different part: ice cold, his feelings hidden beneath a tough and leathery old skin. He plays a white man raised on an Apache reservation and thus suffering the scorn of his fellows. He ends up taking a fateful trip on a stagecoach waylaid by bandits and must use his survival skills to help keep his fellow passengers alive.

The film has a leisurely pace and a long set up, but everything works well here. Each character has a little story all of their own and the actors centre the roles well. Diane Cilento is particularly good as the damaged woman that Newman butts heads with, but the likes of Fredric March, Cameron Mitchell, and Martin Balsam don't disappoint either. Richard Boone is particularly imposing as the chief villain in the story, and the action is handled expertly with some great twists and turns along the way.

Reviewed by LeonLouisRicci 8 / 10

Nobility About Racism & Class Snobbery with Scathing Dialog & Fine Acting

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.

Reviewed by JohnHowardReid 8 / 10

Looked good on TV!

With a rentals gross of $6.5 million, "Hombre" came in at 14th position at U.S./Canadian ticket-windows. The movie did not attract nearly as much attention overseas. When I saw it on original release, I wasn't overly impressed. To me, it came across as a small-scale version of "Stagecoach". On the big screen, Newman's performance seemed lethargic, and March's by contrast over-ripe. Diane Cilento was wasted in one those bad-little-woman-but- conscience-of-society roles. Only Richard Boone played with the right swagger. True, Cameron Mitchell seemed appropriately glum as a dispossessed sheriff, while Frank Silvera had some handsome moments as a grandstanding bandit.

Seen recently in CinemaScope format on pay-TV, the film — for me at least — improved out of sight. The dialogue seemed tersely dramatic, providing lines that all the players (with the exception of Barbara Rush, whose somewhat mannered efforts undermine her unusual role) could get their lips around, whilst the action moved both pacey and picturesque as it moved towards its forceful climax.

Jimmy Wong Howe's superb location cinematography, underlined by David Rose's atmospheric score, lent additional color and excitement. And thanks to striking natural locations, even Martin Ritt's direction seemed both vigorous and invigorating.

A typically violent but suspenseful script originating from the percussive pen of cult novelist Elmore Leonard (the man who hates using adverbs in his writing because they slow down the action) and evocative acting in minor roles (the two Wards, Canary, Hernandez and Isbell) round out the many pluses for this highly suspenseful western.

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