Rating: 
Summary: Recommended, But Give EL DORADO a Try
Review: Director Howard Hawks and actor John Wayne must have thought the story effective, for they essentially remade RIO BRAVO twice more, first as EL DORADO in 1967 and then as RIO LOBO in 1970. In this particular version, Dean Martin is a run-down sheriff who has lost all self-respect and is busy drinking his way to the bottom of the barrell--but old friend John Wayne drifts into town and soon sets about whipping him into shape. With old-timer Walter Brennan and youngster Ricky Nelson at their sides, and with a little support from Angie Dickinson, they clean up the town.As the first of the three versions, RIO BRAVO generally receives the most approval--but although enjoyable, I have always felt it compares unfavorably with EL DORADO. Both films have a relaxed tone, neatly mixing the western-style action with healthy doses of enjoyable comedy, but of the two RIO BRAVO seems much looser in both script and execution and somewhat less well cast. Then pop-star Ricky Nelson is cast in an effort to appeal to teenagers, and believe it or not the film comes to a grinding halt that he might perform the obligatory song; in the meantime, the usually expert Angie Dickinson is broadsided by some of the worst dialogue this side of the Pecos. Even so, Wayne and Martin play very well and have considerable chemistry--certainly more than enough to hold your interest right through to the end--and although the film sometimes feels slow, when the action kicks in it kicks in hard and with plenty of excitement. Reccommended, but give EL DORADO a try.
Rating: 
Summary: "The state is a body of armed men"
Review: Considered by many to be one of the two greatest John Wayne films (the other being John Ford's The Searchers), Rio Bravo features the Duke as Sheriff John T. Chance, a lawman facing incredible odds as he tries to hold criminal Joe Burdette (Claude Akins), delinquent brother of a ruthless and powerful local landowner, until a judge arrives. Under increasing and relentless siege by big brother Burdette's violent mercenaries, he begins preparing for a showdown in which he knows he will be outgunned and outnumbered. Aided by his ageing deputy, Stumpy (Walter Brennan in an Oscar-winning performance) and former gunslinger and friend Dude (Dean Martin), who is now the town drunk (Dean Martin), Chance digs in knowing his actions would mean the difference between law-and-order and anarchy. The three are joined by mysterious young gunslinger Colorado (Ricky Nelson), whose motives are intriguingly unclear. Rio Bravo is perhaps John Wayne's most satisfying Western, allowing him the signature performance that most composes his movie persona - a heroic, principled man, appealing to and aided by young and old, but fully prepared to stand alone against overwhelming adversaries in protection of decency, law and order. Given its central premise, it's perhaps unavoidable to draw comparisons between Rio Bravo and Fred Zinneman's High Noon, which has Marshall Will Kane (Gary Cooper) preparing to face the man he once sent to jail, all the while being persuaded to leave by his wife (a role interestingly paralleled in Rio Bravo by Angie Dickinson's smitten good-time girl, Feathers). In High Noon, Cooper effectively has to stand alone as the cowardly townsfolk abandon him in his hour of need. Nor is Cooper's character blessed with the lack of self-doubt of Wayne's John Chance. Rather, standing his ground scares him as it would anyone. For him, fulfilling his duty as a lawman has nothing to do with the townsfolk who hardly deserve it but all to do with his personal integrity. His heroism is compelled by his personal decency and has no grand intent unrelated to his own view of who he is and what he stands for. In the end, having defeated the gang (with help from his wife) he tosses his tin star into the dust. Community has been revealed to be a myth - what he did was to be able to live with himself. In Rio Bravo, Wayne is not so much abandoned as admired by the townsfolk. To be sure, they are practically little more forthcoming than High Noon's townsfolk - but they hardly shun him. Rather, he is even in the position of being able to turn down offers of assistance and even the town's meekest man (the Latino hotel proprietor) is hardly afraid to be anything but supportive. Wayne is the designated defender of the community and happy to be so without imposing expectations on anyone else around him. He stands astride the town as the unquestioning and unquestioned defender of a law-and-order status quo he wholly buys into. Whether the townsfolk support him or not is hardly a concern linked to his butt-kicking commitment to his badge and the American way. Significantly, the support he receives from Stumpy, Dude and Colorado result from conscious decisions - acts of will - on their part, not entreaties from him. It's clear throughout that Stumpy has the option of bailing if he wishes to - he doesn't; Dude's easiest road is to remain in a drunken stupor - but he doesn't; and the fight hardly concerns Colorado in any way so his obvious best interest is to remain uninvolved - but he doesn't. Similarly for the rancher who offers Chance assistance (which he turns down); Feathers who positions herself dangerously close to Chance when she needn't; the hotel owner who need not be overly familiar with Chance but is. Rio Bravo displays a thoroughly less jaundiced view of community than High Noon (perhaps unsurprisingly given that High Noon was written by Carl Foreman - cruelly blacklisted during the disgraceful McCarthy hearings that so clearly revealed the fallacy of "community" in Hollywood). Yet, Rio Bravo succeeds in its optimism just as powerfully as High Noon succeeds in its despair. Hawks clearly believes that when worse comes to worse there will be a body of armed men - bound to each other through a higher code - that will stand their ground in defense of the weak. It succeeds of course because - despite the realities of modern American aggression and lack of compassion - the far majority of us would like to believe that as well. But beyond the ideological food for thought, Rio Bravo is also at heart a cracking Western. The scene where Colorado - on-the-draw - tosses a rifle to the outnumbered Chance is a real highlight for fans of movie "moments" and hey - the predictable musical showdown between Nelson and Dean Martin is not half as bad as you may expect. Effectively and creatively reworked in a violent urban setting by John Carpenter as Assault on Precinct 13, which jacked up the claustrophobic tension inherent to the premise but sacrificed the rich characterization of Hawks' original.
Rating:
Summary: Everyone counts
Review: Howard Hawks, director of "Rio Bravo" has a belief in people which shows in this film as a delight in humanity. He rejects the idea that, in a democracy, there exists people who can be thrown away. Critic Robin Wood wrote, "If I were asked to choose a film that would justify the existence of Hollywood, I think it would be 'Rio Bravo.'"
When Joe Burdett (Claude Akins) kills an unarmed man, Sheriff John T. Chance (John Wayne) takes him into custody, but Burdett's brother Nathan is one of the richest men in town, and he doesn't like his brother being locked up. With his town full of Burdett's men Chance is in trouble but he has a few folks willing to help - he's got Dude (Dean Martin), an ex-deputy and recent ex-drunk, and Stumpy (Walter Brennan), a cripple who has long been Chance's assistant. His old friend Pat Wheeler (Ward Bond) tries to help, but Chance rejects it, figuring any outsiders would just be more targets for Burdett's gang to shoot at - something proven when Wheeler is killed. Slowly, others join Chance's side: Feathers (Angie Dickinson), a card player who falls for Chance; gunman Colorado (Ricky Nelson), one of Wheeler's men; and Carlos (Pedro Gonzales-Gonzales), the local hotel owner. All the while Chance - who doesn't want help - can use the help his friends provide.
"Rio Bravo" offers us great brush strokes on a democratic canvas , a film about a bunch of folks that operate on the feeling that there really is no one to waste.
Early in the film when Wheeler realizes who's standing with Chance against the Burdetts, he says, "A bum-legged old man and a drunk. That's all you got?" and Chance answers, "That's what I got" and the way he says it you know that he doesn't mind a bit.
"Rio Bravo" is the most relaxed of movies. A film that moseys through its over two hour length and it always has time to slow down for a song, or banter among Chance and friends. Hawks and his actors seem to forget about the plot for long periods just hanging out, enjoying each others company. This is my favorite western.
Rating: 
Summary: sappy, gummy and witless
Review: i bought "rio bravo" entirely on the strength of the critical acclaim, and i was awfully disappointed. compared to "the searchers," "rio bravo" is claustrophobic (all the action takes place inside a jail, a saloon or a single street) and pointless. a drunk (dean martin) hits a sherif (john wayne) over the head, and while the sherif is unconscious a bad guy shoots a good samaritan, but the drunk is actually friend of the sherif so he becomes a deputy (?) and the bad guy goes to jail, but the bad guy's gonna git out, because his bad guy brother says so, and so john wayne has to sit around the jail watching him while the drunk, who's trying to be not drunk anymore, watches the street and makes newcomers take off their guns. and from that flimsy premise comeas all the jawin' and worryin' and fightin' until the federal marshal can arrive. something happened in 50 years to make all the idiocy in this film, which may have once seemed kewl or manly, appear to be flimsy bluster. walter brennan does his gull durn insufferable walter brennan imitation, ricky nelson does a smirking, slacker imitation of a gunfighter, wayne swims around with an uneasy smile on his face and not much to do except fawn over ricky nelson and kiss brennan (!); there's an annoying mexican stereotype and a lunatic turn by angie dickenson as the gold hearted gamblin' girl from over the prairie who turns wayne into a sappy blockhead. dean martin turns in an affecting performance as the reforming drunk, and even sings a western ditty to wile the time, but his climactic scene ("look at these hands! jes look at 'em") is embarrassing and forced. the scene where the bad guys are thwarted by sticks of dynamite, thrown by brennan and detonated on the bounce by wayne's gunshots, is simply laughable. this is the western as closet drama, one of the worst evocations of the west i have ever seen, not romantic, not dramatic, not tragic, not comic, and certainly not historical ... it makes tv's "bonanza" look like a documentary.
Rating:
Summary: What a bunch of characters
Review: Characters make the movie. Boring character can ruin a good story and interersting characters can make a dull movie fly. Rio Bravo enjoys both a good story, and good characters, with a bunch of fine performances thrown in. John Wayne gives his usual fine western performance as the Sherif Chance, but it is the people around him that make this movie great. Walter Bermnan as Stumpy does a great job, A very young Angie Dickerson is frankly hotter than she ever was yet she also remains a strong character who stands up for herself and plays off Wayne well. Ricky Nelson is believeable as a young man with more sense than any that has come before him. All of them round the movie well. Dean Martin as Dude however steals the show. In my opinion this is the movie that makes him a serious player. Dude is clearly the most interesting character of the lot, his own battles with Chance, Stumpy, Burdette and most of all himself makes the movie much more than other westerns. It is clearly superior to El Dorado which takes some doing, and superior to Rio Lobo which doesn't. Other than his early pairings with Maureen O'Hara I would recommend this picture as the best example of John Wayne in a pure western.
Rating:
Summary: A classic Western from the Duke
Review: Rio Bravo has been called the greatest Western ever. I don't know about that, but I do know that this is a very good example of the Western genre. John Wayne stars as the sheriff Chance, who is having problems with a local group of ruffians and who's deputies are poorly suited for the job. Chance doesn't want the townspeople involved--they'll just get hurt. Most of what can be said about this film already has been, so I'll just add that the chemistry between Wayne, Dean Martin, and Walter Brennan is very good (Brennan is the stereotypical funny-guy, downright hilarious). All three of these men give spectacular performances, and Ricky Nelson shows up to add flavor to this group of lawmen as well. Every fan of Westerns should see this movie at least once--chances are, most already have. Regardless, Rio Bravo remains one of the classic examples of what a good Western should be.
Rating:
Summary: One of the finest Westerns ever made.
Review: Rio Bravo is the epitome of the buddy Western. Film critic Robin Wood once called it the film that justifies the existence of Hollywood. The close feeling among the characters is every bit as deep as that portrayed in the 1993 Tombstone without the blatancy. The performances are on target and believable and, in spite of the film's length, it's tightness keeps the viewer enmeshed. Though Rio Bravo is unquestionably a "John Wayne movie," Howard Hawks himself said that the story belonged to Dude (Dean Martin) and, in his first serious Western role, the singer justified the risk taken by Hawks with a brilliant performance that was completely true. He did not take a false step. The film is also the last pairing of friends John Wayne and Ward Bond, and holds a sparkling performance by Angie Dickinson. Walter Brennan re-creates the crusty old codger role that he made his own and Ricky Nelson is a believable, if low-key, young gunman. If the villainous roles are not well-drawn, the actors make the most of what is there. Memorable performances, memorable lines and a classic theme make this film a must-watch. END
Rating:
Summary: A Western for everybody.
Review: It seems like I meet a lot of people who don't like John Wayne, and just about as many who don't care for Westerns. Well, whether you love John Wayne and Westerns, or are lukewarm on both counts, this movie might appeal to you anyway. A lot of it has to do with Howard Hawks' direction. This classic came from the same guy who gave us "Bringing Up Baby," "The Big Sleep," and "His Girl Friday." That means quick, witty dialogue, fun characters, and an overall stylishness in the proceedings (the cinematography is alarmingly crisp and colorful). A cowboy, a crooner and a rockin' teen idol-- these three, Wayne, Dean Martin (in one of his earliest roles after leaving Jerry Lewis), and Ricky Nelson, come together in a way that feels symbolic. To fight off the imminent danger-- and in this film one senses it is hopelessly imminent-- the good guys need to stick close. Dean Martin plays the underdog, a drunk, with just the right touch-- humorous like so many Vegas shows, but with a bit of sadness too. Ricky Nelson looks a little uncomfortable in the saddle, and his lines are a little shaky, but the contrast of his usual persona with this fast-shooting kid makes him fun to watch. Angie Dickinson is more beautiful than ever in this film and has very good chemistry with John Wayne. Of course, what really adds the frosting to the cake is the incomparable Walter Brennan, just about the grumpiest old buzzard you'll ever lay eyes on. The spontaneity of Hawks' direction makes him even funnier, and I think Brennan alone moves "Rio Bravo" a notch higher than the successful remake-of-sorts "El Dorado." I happen to like John Wayne, and a lot of Westerns in general, but I prefer The Duke's persona in this setting rather than those of John Ford. At any rate, it doesn't matter if your favorite film is "The Searchers" or "High Society" (that's mine, actually), "Rio Bravo" is sure to win you over.
Rating:
Summary: Ole Stumpy, The Fellow I Left Behind!
Review: This is, without a doubt, one of John Wayne's best.....the character development just builds and builds throughout the movie until a thrilling climax.
The all-time show stopper in this movie has to be Stumpy (Walter Brennan)...every scene in which he is involved, the scene is essentially stolen from the other players (re-watch and you will see). He is at his best when whining about being stuck in the jail yet always is cowed eventually into doing exactly what Chance (Wayne) wants him to do....except at the end of the movie when he unexpectedly shows up and helps the good guys (hence, the title of this review)! This is just a fun and feel-good movie pitting good vs. evil and along the way throws in a little humor for relief. This is the first of the trilogy by this director and is the best of the three...but El Dorado is not far behind and Rio Lobo is not anywhere near as bad as it has been depicted. I have all three and when I am needing a John Wayne fix, I can't go wrong with one of these.
Rating:
Summary: sappy, gummy and witless
Review: i bought "rio bravo" entirely on the strength of the critical acclaim, and i was awfully disappointed. compared to "the searchers," "rio bravo" is claustrophobic (all the action takes place inside a jail, a saloon or a single street) and pointless. a drunk (dean martin) hits a sherif (john wayne) over the head, and while the sherif is unconscious a bad guy shoots a good samaritan, but the drunk is actually friend of the sherif so he becomes a deputy (?) and the bad guy goes to jail, but the bad guy's gonna git out, because his bad guy brother says so, and so john wayne has to sit around the jail watching him while the drunk, who's trying to be not drunk anymore, watches the street and makes newcomers take off their guns. and from that flimsy premise comeas all the jawin' and worryin' and fightin' until the federal marshal can arrive. something happened in 50 years to make all the idiocy in this film, which may have once seemed kewl or manly, appear to be flimsy bluster. walter brennan does his gull durn insufferable walter brennan imitation, ricky nelson does a smirking, slacker imitation of a gunfighter, wayne swims around with an uneasy smile on his face and not much to do except fawn over ricky nelson and kiss brennan (!); there's an annoying mexican stereotype and a lunatic turn by angie dickenson as the gold hearted gamblin' girl from over the prairie who turns wayne into a sappy blockhead. dean martin turns in an affecting performance as the reforming drunk, and even sings a western ditty to wile the time, but his climactic scene ("look at these hands! jes look at 'em") is embarrassing and forced. the scene where the bad guys are thwarted by sticks of dynamite, thrown by brennan and detonated on the bounce by wayne's gunshots, is simply laughable. this is the western as closet drama, one of the worst evocations of the west i have ever seen, not romantic, not dramatic, not tragic, not comic, and certainly not historical ... it makes tv's "bonanza" look like a documentary.
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