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Hud
Director Martin Ritt triumphed with 1963's Hud, a beautifully photographed tale of family dysfunction mixed with an enigmatic character study that earned Paul Newman a fourth Oscar nomination for Best Actor.
Based on a novel by Larry McMurtry, this story revolves around the Bannon family. Homer Bannon (Melvyn Douglas) is an aging cattle rancher trying to deal with the fact that his cattle have become diseased while dealing with his son, Hud (Newman), a rebellious, arrogant, hard-drinking smart-ass who likes to chase after married women. Homer is doing what he can to keep Hud from being a hero to his grandson, Lonnie (Brandon de Wilde) but is not doing a good job with that, despite the fact that Hud's drinking led to the death of Lonnie's father many years ago. In the middle of all this is Alma (Patricia Neal), the world weary housekeeper who cares for this family maybe a little too much for her own good.
There are few authors out there who capture small town/western sensibility better than McMurtry, who also wrote The Last Picture Show. Irving Ravetch and Harriet Frank Jr. have effectively adapted the novel into a workable screenplay that takes a close look at a family coming apart at the seams through an often reprehensible central character who simultaneously evokes laughs and anger from the viewers.
Director Martin Ritt is to be credited for a lot of the mini-dramas that manifest themselves here, one in particular. Ritt creates an undeniable sexual tension between the characters of Hud and Alma that explains Hud's attraction to married women. It's not so much the dialogue exchanged between the characters but everything else that happens between them, which does eventually come to a boil in one unforgettable scene. The tension here is not just on Hud's side either...Alma clearly feels something for Hud as well but is fighting it with every fiber of her being.
The rest of the drama here comes from the emotionally charged relationship between Hud and his father, who has never really gotten over the fact that Hud was responsible for the death of his other son. The resentment does come full circle when Hud has decided that his father is incompetent and decided to take a short cut to obtaining his birthright. The resolution of the problem with the diseased cattle is also dealt with in a startling manner that is extremely difficult to watch.
Ritt has mounted a lovely story here, highlighted by the breathtaking cinematography by the legendary James Wong Howe that won him his second Oscar. Patrica Neal's smoky Alma earned her the Best Actress Oscar, though some might debate as to whether or not the role is lead or supporting. Melvyn Douglas won his first Best Supporting Actor Oscar for his strong and prideful Homer and despite all this, what you go away from this film remembering is the dazzling performance by Paul Newman that will rivet you to the screen and make you a care about a character that doesn't really deserve it.
Director Martin Ritt triumphed with 1963's Hud, a beautifully photographed tale of family dysfunction mixed with an enigmatic character study that earned Paul Newman a fourth Oscar nomination for Best Actor.
Based on a novel by Larry McMurtry, this story revolves around the Bannon family. Homer Bannon (Melvyn Douglas) is an aging cattle rancher trying to deal with the fact that his cattle have become diseased while dealing with his son, Hud (Newman), a rebellious, arrogant, hard-drinking smart-ass who likes to chase after married women. Homer is doing what he can to keep Hud from being a hero to his grandson, Lonnie (Brandon de Wilde) but is not doing a good job with that, despite the fact that Hud's drinking led to the death of Lonnie's father many years ago. In the middle of all this is Alma (Patricia Neal), the world weary housekeeper who cares for this family maybe a little too much for her own good.
There are few authors out there who capture small town/western sensibility better than McMurtry, who also wrote The Last Picture Show. Irving Ravetch and Harriet Frank Jr. have effectively adapted the novel into a workable screenplay that takes a close look at a family coming apart at the seams through an often reprehensible central character who simultaneously evokes laughs and anger from the viewers.
Director Martin Ritt is to be credited for a lot of the mini-dramas that manifest themselves here, one in particular. Ritt creates an undeniable sexual tension between the characters of Hud and Alma that explains Hud's attraction to married women. It's not so much the dialogue exchanged between the characters but everything else that happens between them, which does eventually come to a boil in one unforgettable scene. The tension here is not just on Hud's side either...Alma clearly feels something for Hud as well but is fighting it with every fiber of her being.
The rest of the drama here comes from the emotionally charged relationship between Hud and his father, who has never really gotten over the fact that Hud was responsible for the death of his other son. The resentment does come full circle when Hud has decided that his father is incompetent and decided to take a short cut to obtaining his birthright. The resolution of the problem with the diseased cattle is also dealt with in a startling manner that is extremely difficult to watch.
Ritt has mounted a lovely story here, highlighted by the breathtaking cinematography by the legendary James Wong Howe that won him his second Oscar. Patrica Neal's smoky Alma earned her the Best Actress Oscar, though some might debate as to whether or not the role is lead or supporting. Melvyn Douglas won his first Best Supporting Actor Oscar for his strong and prideful Homer and despite all this, what you go away from this film remembering is the dazzling performance by Paul Newman that will rivet you to the screen and make you a care about a character that doesn't really deserve it.