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Politics : Ask Michael Burke -- Ignore unavailable to you. Want to Upgrade?

To: Cape Blanco who wrote (94534)	2/17/2002 11:29:13 PM
From: shadowman	Respond to of 132070

Marc, It's been a while since I've seen it...here's one of the few reviews that I've been able to find. Basically it's a man against authority film....ala Cool Hand Luke. Powerful movie... Lonely Are the Brave (1962) Reviewed by: William Cappa d: David Miller Carroll O'Connor, Gena Rowlands, George Kennedy, Karl Swenson, Kirk Douglas, Lalo Rios, Martin Garralaga, Michael Kane, Walter Matthau, William Mims, William Schallert This wonderful little existential Western came and went at it's time of release without fanfare, because the studio didn't want to promote a black & white "neo" Western. The critics ate it up though, and a year later it was something of a "cause celebre" in the coffeehouses and independent cinemas. It tells the story of a lone, modern cowboy, who refuses to be dragged into the 20th century. After some long job up north, he rides his horse back to New Mexico (cutting fences as he goes), to see and help a friend who has been jailed for employing illegal Mexicans as farm workers. John (Douglas), gets himself arrested for starting a fight in a local bar, and tries to help his friend escape. His friend refuses because he has but a few months left to serve; so the irony is that Douglas has to escape himself, thus making him a wanted man. He says goodbye to his pal's wife (Gena Rowlands in a memorable but brief role), and rides to the foothills of the Sangre De Christo mountains, where it is his intention to go to the ridge and escape - no mean feat, as it is rugged and dangerous country. Pursuing him every step of the way (aided by bumbling Airforce personnel in a helicopter) is a tired old sheriff, played with wry, dry humor by Walter Matthau, who is assisted by his slow-witted deputy (Shallert). John tries every means he can employ to outrun the law, and Matthau doesn't really have the heart or moral turpitude to follow (at one point he is heard to say "For two bits I'd call the whole thing off"). This quiet but tense little "sleeper" runs the gamut of emotions from pathos to comedy, while maintaining its real message throughout. Writer Trumbo has always focused on a similar type of storytelling - whether it be in High Noon, The Victors, Johnny Got His Gun, Spartacus, etc.) - which is that a man needs to be free, and sometimes despite the ridiculous laws of man which constrain him. I urge anyone who has never seen this not to miss it. I will not divulge the ending, other than to say it's a real grabber. moviething.com