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| | |-+  3:10 to Yuma (1957)
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: 3:10 to Yuma (1957)  ( 21192 )

« #60 : January 04, 2017, 02:40:26 PM »

An even better solution is to march uptrack toward the 3:10 and flag it down at, say, 2:45. This would keep Wade busy, make it more difficult for his gang to plan mischief, AND get Evans to safety earlier. A hotel room is a terrible place to defend--it limits your field of fire, makes maneuver difficult, and provides next to no cover (bullets go right through wood). And it cedes the initiative to your enemy. And then you aren't anywhere near the rail line, so on top of everything, you have to move. Very dumb.

This comment reminded me of the one other "flaw" about 3:10 that i didn't get.  When Van Heflin is holed up with Ford in the Hotel, and his help abandoned him, didn't ANY of Ford's gang see them walking out of the hotel?  Especially the nosey one, the one that originally was waiting at the hotel and knew every move that Van Heflin made from that point on out.  Seems that if they saw Van Heflin being abandoned, then they could've stormed the hotel. Instead, they all take position and nobody saw anybody leaving the hotel...

LATE EDIT: After thinking about it more, i think the reason they wouldn't have stormed the hotel even if they saw Van Heflin being abandoned, is the fact that he said he would shoot Ford's character if they kept shooting at the hotel...

« : January 04, 2017, 03:27:02 PM Moorman »
cigar joe
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easy come easy go

« #61 : January 04, 2017, 03:36:12 PM »

Saw this for the very first time last night. What a movie. I went to sleep trying to figure out whether this movie is better than High Noon, my current favorite black and white movie and in the running for my favorite Western.  Everything was on point. The cinematography, the music score, the script, the cast, everything. Its a masterpiece in my book...

I'd take 3:10 visually it's slightly heavier on Western Landscapes while High Noon is more town set bound.

"When you feel that rope tighten on your neck you can feel the devil bite your ass"!

« #62 : January 04, 2017, 04:14:17 PM »

I'd take 3:10 visually it's slightly heavier on Western Landscapes while High Noon is more town set bound.

The cinematography in 3:10 is beyond beautiful. I agree...


« #63 : February 08, 2017, 08:22:31 PM »

Room 207 and the 3:10 to Yuma.

Van Heflin plays rancher Dan Evans whose family and livelihood is at breaking point due to a devastating drought. Needing money fast, Evans gets thrown a financial lifeline when a reward is offered to escort a recently captured outlaw, Ben Wade (Glenn Ford), on to the 3:10 train to Yuma prison. But as Wade's gang closes in to free the shackled outlaw, and the clock starts to tick down, Evans finds himself torn between a sense of social duty and an easy option courtesy of Wade's mind game offer.

Based on a story by Elmore Leonard, this is a tight and tense Western that harks to the wonderful High Noon five years earlier. Directed by Delmer Daves, 3:10 to Yuma sees two of the Western genre's most undervalued performers come together in perfect contrast. Heflin's Evans is honest, almost saintly; but ultimately filling out his life with dullness and too much of a safe approach. Ford's Wade is the other side of the coin, ruthless (the opening sequence sets it up), handsome and very self-confident. This coupling makes for an interesting story-one that thankfully delivers royally on its set-up. As Wade's gang closes in, led by a sleek and mean Richard Jaeckel, Wade toys with Evans, offering him financial gain and gnawing away at him about his abilities as a husband, the tension is palpable in the extreme. Nothing is ever certain until the credits role, and that is something that is never to be sniffed at in the Western genre.

The comparison with High Noon is a fair one because 3:10 to Yuma also deals with the man alone scenario. A man left alone to deal with his adversaries and his own conscience; money or pride indeed. Daves' direction is gritty and suitably claustrophobic, with close ups either being erotically charged {watch out for Felicia Farr's scenes with Ford in the saloon} or tightly wound in room 207 of the hotel; where Heflin & Ford positively excel. His outdoor work, aided by Charles Lawton Jr's photography, also hits the spot, particularly the barren land desperate for water to invigorate it. While the piece also has a tremendous George Duning theme song warbled (and whistled by Ford in the film) by Frankie Laine. Great acting, great direction and a great involving story; essential for fans of character driven Westerns. 8.5/10

Footnote: The film was very well remade in 2007 with two of the modern era's finest leading men, Russell Crowe & Christian Bale, in the dual roles of Ben & Dan respectively. One hopes, and likes to think, that they remade it purely because it was such a great premise to work from. Because Daves' film didn't need improving, it was, and still is, a great film showcasing how great this often maligned genre can sometimes be.

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« #64 : May 12, 2017, 02:11:57 AM »

I finally got to see this classic yesterday. It's a very tense movie. The closing scenes are terrific. Good twist to this story. I always like to hear Frankie Laine's dramatic singing of western theme tunes. This is one of his lesser known ones.

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