From the potent pad tagged "RAREMEAT BLOG" comes scribber "wtypethai" remarkable reflections on the wonderful western "Rio Bravo" where our most beloved Dino has what many many Dino-holics believe to be his bestest of best big screen role of "Dude." This is an incredibly in depth look at this Dino-classic showin' that "wtypethai" has done his homework well.
While this reviewer 'fesses up that "I will not personally like this movie," he also 'fesses up that, as we have used for the title of this post, " I can not help but watch Dude, mindful, intelligent, always dependable." We are greatly grateful to hear such awesomely appreciative affirmation of our Dino's awesome actin' ability in this epic performance for which he continues to win such amazin' acclaim. Likes the trio of youtube vids adds mucho to this potent post as well...but sure to take the time to soak 'em in!
We sez our thanks to "wtypethai" for all his energetic efforts in reviewin' "Rio Bravo" and makin' his awesome appreciato of our Dino's wonderful work on this flick clear to his readership. To checks this out in it's original source, likes simply clicks on the tag of this Dino-message.
We Remain,
Yours in Dino,
Dino Martin Peters
Rio Bravo (1959)
The Bravo rio (1959) 
: Used Howard for Hawks ♥♥♥ ♡.
Responding to High Noon (1952), which was condemned as a communist film. Director Howard Hawks and John Wayne co-produced the movie Masterpiece. This is a Classical Western selling American Idol. Even the sheriff's only drunken, disabled, and young children can fight to defeat dozens of criminals.
This is a movie that the audience of American critics are fond of. It's a Western-themed film from the beginning to the present. It's just as perfect as Singin 'in the Rain (1952). Masterpiece by the way, the best of the era.
I will not personally like this movie. At first, I wondered why I was so impressed with High Noon? Rio Bravo is considered to be 'American' too. In the self-glorification I'm so proud of that. No need to wait after anyone else.
This reminds me that Western is not a movie, just a cowboy wearing a gun. Play in the vast desert land. It represents the ancestors of the American values and history. (Like the samurai representing the emblem of Japan)
People who like this movie very much. I believe that most of them do not think about this issue. John Wayne, Dean Martin, Ricky Nelson's handsome, Angie Dickinson's Hawksian style, or even the narrative narrative. Slice-Of-Life Romantic interludes, dramatic cuts, sharp shear. Small action Music And the dharma fair to win.
I mean, I'm a fan of director Quentin Tarantino. 'If I was having a relationship with anyone, I would take Rio Bravo if I liked it. If not, it will break out immediately. '
Howard Winchester Hawks (1896 - 1977), American film director and producer in the Hollywood classic. Critic / director Jean-Luc Godard praised the greatest American artist, 'the greatest American artist.'
Hawks is a director who has made a number of films including comedy, drama, western cowboy, gangster, sci-fi and film noir. Girl Friday (1940), The Big Sleep (1946), Red River (1948), Rio Bravo (1959). I do not think so. In particular, women are often so naughty that they have the term 'Hawksian Woman'
Orson Welles once said, 'Hawks is prose director, Ford is poet director.'
"Hawks is great prose; Ford is poetry. "- Orson Welles
Unfortunately, the Hawks' lives were one-time Oscar nominations from Sergeant York (1942). This gave the Academy a 1975 Honorary Award.
After the landmark failure of the Land of the Pharaohs (1955), the epic film, which did not fit the style of the Howard Hawks, thought he could not adapt to the new Hollywood. With the age of 6, I want to relax a moment. Lost to the full 4 years.
There was a project with John Wayne who wanted to do it for a while. This is a response to director Fred Zinnemann's High Noon (1952), starring Gary Cooper.
Wayne called that movie. 'un-American'
"High Noon is the most un-American thing I've ever seen in my whole life"
While Hawks director commented,
"I did not think a good town marshal was going to run around town like a chicken with his head cut off asking everyone to help. And who saves him? His Quaker wife. That is not the idea of a good Western. "
Hawks is the author of the Rio Bravo short story. Using the pseudonym of the daughter of BH McCampbell (Barbara Hawks McCampbell) [adapted for copyright], adapted the script by Jules Furthman and Leigh Brackett (all of Hawks Writer Stock).
"I had fun when we wrote Rio Bravo. My daughter was getting interested, and she had a good idea about throwing dynamite. I said, 'Look, I'll write the story and give you a credit and it'll save me money on income tax and you'll get enough to buy a new house.' "
The story of John T. Chance (played by John Wayne), the sheriff of Rio Bravo, Texas, one day arrested a brother of local influences. Murder charges So was the head of the billionaire brother. Hire a bounty hunter for dozens of people. Dude (Dean Martin), Stumpy (played by Walter Brennan), and a young man in front of the fire. Colorado / Ryan (played by Ricky Nelson) will have a chance to win this battle.
John Wayne Original Name Marion Mitchell Morrison (1907 - 1979) American Actor Duke was born in Winterset, Iowa. His father was an American Civil War veteran. His mother, Scottish and Irish, grew up as a naval officer. Scholarship to University of Southern California Law School for Football Athletics. I have to get rid of the right to get out of the capital. But was rescued by a coach. Get acquainted with actor Tom Mix and director John Ford into the film industry. Starting from Prop Boy, Stuntman, the supporting character was first credited as Words and Music (1929),
Wayne has worked with the Hawks for five times, including Red River (1948), Rio Bravo (1959), Hatari (1962), El Dorado (1966) and Rio Lobo (1970).
Sheriff John T. Chance is full of dignity. Adhering to the unchanging virtue. But because of too much time to work. It is also unmarried. What he has to fight in this is not just the villains. But it is also female. I can only overcome it.
Will be John Wayne is very familiar with the show. But with the Hawks director's direction, the characters need a lot of energy to keep the story going. Wayne can release. Speech Transmission - Performances Full of strength The most alive in life is that it is.
Normally, Wayne's performance will be steady. "I do not act, I react." But because of the failure of The Searcher (1956), many of the subsequent works were unsuccessful. I do not think so. But the age with the reputation began to dizzy. I dedicate myself to the show again. Put your spirit into full force. Overall, this is Wayne's movie. Even in the romance of romance (myself 51, kissing girl, age 26, I have to spit on). But this image still sells well.
Hint: The Duke hat in the movie. It's the last time since Stagecoach (1939) because it's in a state of total disrepair.
Dian Paul Crocetti (1917 - 1995) American comedian, 'King of Cool', was born in Steubenville, Ohio to an Italian family. He did not speak English until he was 5 when he left school at the age of 10, thinking he was better than a 15 year old schoolboy. Kid Crochet resides in the same apartment as Sonny King, who quit boxing in the Casino, sounds good, becomes a duet partner with Jerry Lewis, plays television, holds a radio show, first solo movie. Thousand Bedrooms (1957), Rio Bravo (1959), Who Was That Lady? (1960), Ocean's 11 (1960) Comedy Series The Dean Martin Show (1965 - 1974), all 9 seasons, 264 episodes.
Dude / BorrachÃģn Former Sheriff of Rio Bravo, Texas, one day fell in love with a girl. Traveling with her to Mexico and then broke up drinking alcohol can not stop. Returning to the state like a beggar. Get a chance at John T. Chance to come back as a Ranger, but it's not easy. Because when the symptoms of red. I do not know how to fight the enemy.
I can not help but watch Dude, mindful, intelligent, always dependable. What do you like to do outside of the box? No one expected. They are full of fearlessness. I do not have anything else to lose.
Originally, the Hawks had a crush on Montgomery Clift, who had worked on Red River (1948), and John Wayne, but because Democrat was not a politician. But Dean Martin, who had worked with The Young Lions (1958)
On the day the Hawks met Martin for the first time. After learning that the player must fly straight from Las Vagas at midnight after the show. I am very impressed with this dedication. He did not ask for an interview. Put on a suit and try to tell immediately.
Martin's performance will be rewarded. Close friend Marlon Brando, who had been working on The Young Lions (1958), the second time that the character was willing to do it. Repent Without knowing his hand was shaking. The next step is playing the guitar.
I was quite upset with this character's Cline Max scene. After the hostage exchange, it is a common gun. But where is the small corner? The hero turned out to be advantageous. This must watch both the scriptwriter and the stillness of Martin expressed. This scene looks so handsome.
Eric Hilliard Nelson (1940 - 1985) American actor, born in Teaneck, New Jersey, is a singer and actress. He was 8 years old with his family, Reality, The Adventures of Ozzie and Harriet. (1952 - 1966) caught their family's life. At the age of 16, they released their first single. It was not until the song "Poor Little Fool" reached number one on the Billboard Chart. The movie was chosen to play Rio Bravo (1959), because the handsome Elvis Presley was screaming for a lot of money.
I'm not sure if this is a good idea. But it's just a matter of self. I agree to join the Ranger because I want to see the results that will happen in the near term.
Nelson is really handsome. Each chapter reflects the ingenuity of the character. The more you make the search. The reason for joining Ranger is not having any virtue. But it helps to increase the hero. It's not hard to win.
Angelina Brown (born 1931) is an American actress born in Kulm, North Dakota, a German-born family who grew up as a businessman, and competed in the 1953 Beauty Pagan. show Starting from the television series Ocean's 11 (1960), The Killers (1964), The Chase (1966) became legendary with the Police Woman series (1974 - 1978).
Plays Feathers, a girl floating in a car Stagecoach accidentally met with John T. Chance tried to cruise the best. But will he realize that all her actions need to convey?
Although not as elegant as the sparkle of Jean Arthur or Lauren Bacall seductive seduction, but Dickinson is considered sexier sex. Pepper like a man And a little sexy. Slim legs from Marlene Dietrich into the Hawksian collection is second to none.
Note that the characters Chance, Dude, Colorado, Feathers, Stumpy reflect the unique character of the character comes out. I'm not sure if this is a good idea.
Photographed by Russell Harlan, American filmmaker nominated for Best Cinematography at the Oscars: 6 times, but never won a prize. The Red Race (1948), Lust for Life (1956), Rio Bravo (1959), To Kill a Mockingbird (1962), Hatari (1962), The Great Race (1965)
Old Tucson Studios, Arizona originally filmed Columbia Pictures as the backdrop for the Arizona movie (1940), due to its large area of over 1,200 square meters (approximately 750,000 acres). Until now, there are movies / television. Hundreds of stories are filmed here. The park is now open to the tens of thousands of people per day.
Howard Hawks movie, the title of the character, but talk to talk mouth to mouth, so Prologue about the first 4-5 minutes of the movie. I'm sorry to interrupt the conversation. But the sound effects of the soundtrack stand out.) It is said that I made a silent movie (really, Hawks has been in the industry since the silent film. But when it comes to movies, it's never stopped.
Medium shot (Medium Shot), Full Shot (Low to High), Long Shot, Close-up
Contains
- While Joe Burdette picks up the gun
- Dude's hand tries to roll the cigarette
- Dude pours the liquor in the glass back into the bottle
- Moves into the glass. Bloody Drinks
- Chance's Chained Rope Tied to Chair
- While Joe Burdette picks up the gun
- Dude's hand tries to roll the cigarette
- Dude pours the liquor in the glass back into the bottle
- Moves into the glass. Bloody Drinks
- Chance's Chained Rope Tied to Chair
The outstanding thing of photography. The Direction of the Hawks director is naturally flowing, placing the main actor in the middle of the picture. (If many people talk in a single shot. I always find the middle position between always.) What time do you go to spin or move? The camera is always panning, it is tracking the characters always.
Edited by Folmar Blangsted (1904 - 1982). Edited by: Flamingo Road (1949), A Star is Born (1954), Rio Bravo (1959), Camelot (1967)
John T. Chance presents a theme called Slice-Of-Life The 7-day lifestyle of Rio Bravo prefect trying to do everything possible so that prisoners of war can not escape prison. At the same time, it must solve the problems in life as. Do you have a good friend?
The language of editing is universal. The story will be divided into sections during the sequence. The editing will be normal. Choose a camera angle with a shock before. At the end of scene change scene will be used. Cross-Cutting To create a story flow.
I've just come across this film that every Sequence is without a shot. I will go into the story immediately, no matter what the wait. This is the reason why the Hawks movies are extremely fluid. The character finishes from one scene. Cross-Cutting Walk to the next scene and start talking again. Do not waste time.
The song is composed by Russian composer Dimitri Tiomkin. Another Hollywood legend, he won four Oscars, four for "High Noon" (1952), two for "Best Original Score", "The High and the Mighty" (1954), The Old Man and the Sea (1958)
The Hawks chose to use Tiomkin's High Noon (1952), but most of the film was not a soundtrack. The sound effects are similar to the Sound Effect over the rest is a song lyrics.
Rio Bravo Composed by Paul Francis Webster, sung by Dean Martin with Nelson Riddle Orchestra, this song brings a melody from the Red River to the new singer / songwriter. Feel the difference (Red River used to open the opening song, while Rio Bravo is the closing song Ending)
El DegÞello (1836) [The Cutthroat Song] is a song that the Mexican soldiers used to signal to General Antonio Lopez de Santa Anna and his followers in the American prison at Alamo to say that aid was arriving. Get ready,
Tip: Director Sergio Leone wants Ennio Morricone to write a song for A Fistful of Dollars (1964).
My Ride, My Pony, and Me, written by Paul Francis Webster, sung by Dean Martin with Ricky Nelson and Walter Brennan.
Cindy Cindy Folk Song American Folk Song It is anticipated that it will be from North Carolina in the early 20's, a version in a movie directed by Ricky Nelson. Chlorine is followed by Walter Brennan, Dean Martin.
My Rifle, My Pony, and Me ranked 42nd of the Top 100 Western Songs by Western Writers of America.
Classical Western movies in almost all of them. Must have a country theme song for creating a relaxing atmosphere. This is always a comfortable fit.
The story of Rio Bravo is the moral of the protector of the Guardians. In the view of Superintendent Howard Hawks and John Wayne, this is not a career that requires the help of a risk-taker. As available Drunks, drunks, limbs and children can fight to defeat dozens of criminals is not difficult.
"If they're really good I'll take them. If not, I'll just take care of them. "
The sentence that Sheriff John T. Chance said is a reflection of American values. 'What would be useful to use? What is not, the head is disillusioned, and also the response to the concept of the movie High Noon, it is necessary to lose time. I know that there are no days.
The story of Rio Bravo is not related to politics. (Except that the characters are clearly seen as conservative), the hero group is the ideology of uncompromising. Good luck! To work honestly. While the enemy is an evil corrupt. Use money to spread influence. Meet the needs Not being immoral
This is a matter of common human consciousness. Fight between Good vs evil vs wrong? It is an understanding of the creators. Good people must have political views on the left. The wicked are always on the opposite side of the right side. In spite of that fact. Good people have both left and right political. The evil one too.
The story of the movie has reflected on their pride. Arrogant pride The Hawks and Wayne, they are the Republican conservatives who look at anyone who does not belong to them. Is this a bad guy or 'American guy' (in the view of Democrat is often looking Republican like this).
What impressed me most about High Noon was the search for a sheriff's help. Try to do everything. Every opportunity During that, anything happened, while Rio Bravo blocked everything. Who wants to help refusal to neglect. View user's profile Send private message
But the concept of Rio Bravo is not what it is. Because of the people who have the intention, but not skilled. Join the group to the nest, but it will create a waste of time, rather than doing the benefits. It can be drought-loving. But the truth is inevitable.
Because of this, the Democrat and the Republican bipartisan side often have similarly close members. In my opinion, I would say that High Noon looks better, but half the world is looking at this movie is cooler than any other.
It's really a part of it. For high passionate people, High Noon often denies the Rio Bravo and, in contrast, Americans in particular. Most people are crazy about this movie. And reject all that do not join the same self.
There are no reports of capital formation, but it is unlikely. Filmed in America, grossed $ 5.2 million worldwide, grossing $ 12.5 million.
After the success of Rio Bravo, Hawks tried to imitate this formula. Create a semi-sequel / Remake El Dorado (1966) with Rio Lobo (1970), starring John Wayne. I can make some money. But quality is not the same as the original.
If you cut the 'American' out of the other elements of the movie, I really like everything. Flowing smoothly like a wind / flow. Perfect level But because of the stereotype, the attitude is rooted in every element. Can not really separate. Finally, I shook my head while I was watching.
Introducing the hilarious Classical Western filmmaker Howard Hawks' style, shattering the sharp edges between police and villains, actors John Wayne, Dean Martin, Ricky Nelson, not to be missed.
Rio Bravo (1959)
2018-01-10 wtypethai
Rio Bravo
Rio Bravo (1959) hollywood : Howard Hawks ♥♥♥♡
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āđāļ่āļāļ°āļāļāļāļ§่āļēāļŠ่āļ§āļāļัāļ§āļāļĨัāļāđāļĄ่āļāļāļāļ āļēāļāļĒāļāļāļĢ์āđāļĢื่āļāļāļี้āļŠัāļāđāļ่āļēāđāļŦāļĢ่ āļีāđāļĢāļāļŠāļāļŠัāļĒāđāļāļĢāļēāļ°āļัāļ§āđāļāļāļāļĨั่āļāđāļāļĨ้āļāļĢāļ°āļัāļāđāļ High Noon āļĄāļēāļāļāļ§่āļēāļŦāļĢืāļāđāļāļĨ่āļē? āđāļ่āļĄāļēāļāļĢุ่āļāļิāļāđāļāļĒāļĨāļ°āđāļีāļĒāļāļ็āļāļāļ§่āļē Rio Bravo āļĄีāļāļ§āļēāļĄāđāļ็āļ ‘āļāđāļĄāļĢิāļัāļ’ āđāļิāļāđāļāļāļāļĢู้āļŠึāļāđāļĨี่āļĒāļ āđāļāļāļēāļĢāļāļ§āļāļ้āļēāļāđāļิāļāļูāļāļāđāļāļ āļŦāļĒิ่āļāļāļĒāļāļāļ§่āļēāļāļāđāļāļāđāļ่āļāļāļēāļāļĒิ่āļāđāļŦāļ่ āđāļĄ่āļāļģāđāļ็āļāļ้āļāļāļāļāļĒāļ้āļāļāļēāļĄāļŦāļĨัāļāļู้āļื่āļāđāļ
āļี่āļāļģāđāļŦ้āļāļĄāļĢāļ°āļĨึāļāļึ้āļāļĄāļēāđāļ้āļ§่āļē Western āđāļĄ่āđāļ่āđāļāļ§āļ āļēāļāļĒāļāļāļĢ์āđāļ่āļāļēāļ§āļāļāļĒāļŠāļ§āļĄāļŦāļĄāļ§āļāļāļ§āļĨāļืāļ āļāļāđāļื่āļāļāđāļāļืāļāđāļ่āļāļิāļāļāļ°āđāļĨāļāļĢāļēāļĒāļāļ§้āļēāļāđāļŦāļ่āđāļāļĻāļēāļĨ āđāļ่āļืāļāļัāļ§āđāļāļāļāļĢāļĢāļāļุāļĢุāļĐ āļ§ิāļีāļ่āļēāļิāļĒāļĄ āđāļĨāļ°āļāļĢāļ°āļ§ัāļิāļĻāļēāļŠāļāļĢ์āļāļāļāļēāļิāļāđāļĄāļĢิāļāļē (āđāļŦāļĄืāļāļāļัāļāļāļēāļĄูāđāļĢāļี่āđāļ็āļāļัāļ§āđāļāļāļŠัāļāļĨัāļāļĐāļ์āļāļāļāļāļĢāļ°āđāļāļĻāļี่āļุ่āļ)
āļāļāļี่āļื่āļāļāļāļāļŦāļัāļāđāļĢื่āļāļāļี้āļĄāļēāļāđ āđāļื่āļāļ§่āļēāļŠ่āļ§āļāđāļŦāļ่āļāļāđāļĄ่āđāļ้āļāļĢุ่āļāļิāļāļึāļāļāļĢāļ°āđāļ็āļāļี้āļัāļāļŦāļĢāļāļ āļĄัāļāļāļĢāļ°āļัāļāđāļāļāļēāļĢāđāļŠāļāļāļāļāļ John Wayne, Dean Martin, āļāļ§āļēāļĄāļŦāļĨ่āļāđāļŦāļĨāļēāļāļāļ Ricky Nelson, āļ่āļēāļĢัāļāđāļāļŠāđāļāļĨ์ Hawksian āļāļāļ Angie Dickinson, āļŦāļĢืāļāđāļĄ้āđāļ่āđāļāđāļĢāļāļั่āļāļāļēāļĢāđāļĨ่āļēāđāļĢื่āļāļ Slice-Of-Life āļŠāļāļāđāļāļĢāļāđāļĢāđāļĄāļāļิāļ āļāļĢāļēāļĄ่āļē āļŦัāļāđāļŦāļĨี่āļĒāļĄāđāļืāļāļāļāļĄ āđāļ๊āļāļั่āļāđāļĨ็āļāđ āđāļāļĨāļāļāļĢāļ°āļāļāļāđāļāļĢāļēāļ°āđ āđāļĨāļ°āļāļāļāļāļāļāļĢāļĢāļĄāļĄāļ°āļāļāļ°āļāļāļĢāļĢāļĄ
āđāļāļ§: āļี่āđāļāļĨāļ§่āļēāļāļĄāļāļāđāļ็āļāđāļāļāļāļāļāļู้āļāļģāļัāļ Quentin Tarantino āđāļĄ่āđāļ้āļŠิāļāļ° āđāļāļĢāļēāļ°āđāļ้āļēāļัāļ§āđāļāļĒāļ่āļēāļ§āļāļĢāļ°āļāļēāļĻāļ§่āļē ‘āļ้āļēāļัāļāļāļģāļĨัāļāļĄีāļāļ§āļēāļĄāļŠัāļĄāļัāļāļ์āļัāļāđāļāļĢāđāļĄื่āļāđāļŦāļĢ่ āļāļ°āļāļēāđāļāļู Rio Bravo āļ้āļēāļื่āļāļāļāļāļ่āļāļĒāļāļāļ่āļ āļ้āļēāđāļĄ่āļ็āļāļ°āđāļĨิāļāļĢāļēāļัāļāļัāļāļี’
Howard Winchester Hawks (1896 – 1977) āļู้āļāļģāļัāļ āđāļāļĢāļิāļ§āđāļāļāļĢ์āđāļĨāļ°āļัāļāđāļีāļĒāļāļāļāļŠัāļāļāļēāļิāļāđāļĄāļĢิāļัāļ āđāļāļĒุāļ Classic Hollywood āļัāļāļ§ิāļāļēāļĢāļ์/āļู้āļāļģāļัāļāļื่āļāļัāļ Jean-Luc Godard āļĒāļāļĒ่āļāļāļ§่āļē āđāļ็āļāļĻิāļĨāļิāļāđāļŦ่āļāļāđāļĄāļĢิāļāļēāļĒิ่āļāđāļŦāļ่āļี่āļŠุāļ ‘the greatest American artist.’
Hawks āđāļ็āļāļู้āļāļģāļัāļāļี่āļāļģāļŦāļัāļāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļĄāļēāļ āļั้āļāđāļāļ§ āļāļĨāļ, āļāļĢāļēāļĄ่āļē, āļāļēāļ§āļāļāļĒ Western, Gangster, āđāļāđāļ āđāļĨāļ°āļŦāļัāļāļัāļ§āļĢ์ āļāļĨāļāļēāļāļัāļāđāļ็āļĄีāđāļĒāļāļ°āļĄāļēāļ āļāļēāļิ Scarface (1932), Bringing Up Baby (1938), His Girl Friday (1940), The Big Sleep (1946), Red River (1948), Rio Bravo (1959) āļŊ āļŠāđāļāļĨ์āļāļāļāđāļāļē āļัāļ§āļĨāļ°āļāļĢāļĄัāļāļูāļāļāļĢ่āļēāļĄ āļ่āļēāļāļēāļāļĨีāļĨāļēāļ่āļēāđāļĒāļāļ° āļ้āļģāđāļŦāļĨāđāļāļัāļ āļัāļāđāļĄ่āļ้āļģāļั้āļāļŦ้āļē āđāļāļĒāđāļāļāļēāļ°āļู้āļŦāļิāļāļĄัāļāļĄีāļāļ§āļēāļĄāđāļ่āļāđāļ้āļ§ āļŦ้āļēāļ§āļŦāļēāļ āļึāļāļāļāļēāļāļĄีāļāļģāđāļĢีāļĒāļ ‘Hawksian Woman’
Orson Welles āđāļāļĒāđāļŦ้āļŠัāļĄāļ āļēāļĐāļ์āļĒāļāļĒ่āļāļāļ§่āļē ‘Hawks āļืāļāļู้āļāļģāļัāļāļĢ้āļāļĒāđāļ้āļ§ āļŠ่āļ§āļ Ford āļืāļāļู้āļāļģāļัāļāļĢ้āļāļĒāļāļĢāļāļ’
“Hawks is great prose; Ford is poetry.”
– Orson Welles
āļ่āļēāđāļŠีāļĒāļāļēāļĒāļี่āļั้āļāļีāļ§ิāļāļāļāļ Hawks āđāļ้āđāļ้āļēāļิāļ Oscar āđāļ่āļāļĢั้āļāđāļีāļĒāļ§āļāļēāļ Sergeant York (1942) āļี่āļāļģāđāļŦ้ Academy āļ้āļāļāļĄāļāļ Honorary Award āđāļŦ้āļี 1975
āļŦāļĨัāļāļāļ§āļēāļĄāļĨ้āļĄāđāļŦāļĨāļ§āļĒ่āļāļĒāļĒัāļāđāļĒิāļāļāļāļ Land of the Pharaohs (1955) āļ āļēāļāļĒāļāļāļĢ์ Epic āļี่āļูāļĒัāļāđāļāļ็āđāļĄ่āđāļ้āļēāļัāļāļŠāđāļāļĨ์āļāļāļ Howard Hawks āļ็āļŦāļĨāļāļิāļāđāļāļ§่āļēāļัāļ§āđāļāļāļāļāļāļĢัāļāļัāļ§āđāļ้āļēāļัāļ Hollywood āļĒุāļāđāļŦāļĄ่āđāļĄ่āđāļ้ āļāļĢāļ°āļāļāļāļัāļāļāļēāļĒุāđāļ้āļēāđāļĨāļ 6 āļึāļāļāļĒāļēāļāļัāļāļ่āļāļāļŠัāļāļĢāļ°āļĒāļ° āļŦāļēāļĒāļŦāļ้āļēāļŦāļēāļĒāļāļēāđāļāļึāļ 4 āļีāđāļ็āļĄ
āļĢāļ°āļŦāļ§่āļēāļāļั้āļāļ็āļĄีāđāļāļĢāđāļāļāļŦāļึ่āļāļĢ่āļ§āļĄāļัāļ John Wayne āļี่āļāļĒāļēāļāļāļģāļŠัāļāļัāļ āļั่āļāļืāļāļāļēāļĢāļāļāļāđāļ้āļ āļēāļāļĒāļāļāļĢ์āđāļĢื่āļāļ High Noon (1952) āļāļāļāļู้āļāļģāļัāļ Fred Zinnemann āļāļģāđāļŠāļāļāđāļāļĒ Gary Cooper
Wayne āđāļĢีāļĒāļāļŦāļัāļāđāļĢื่āļāļāļั้āļāļ§่āļē ‘un-American’
“High Noon is the most un-American thing I’ve ever seen in my whole life”
āļāļāļ°āļี่āļู้āļāļģāļัāļ Hawks āđāļŠāļāļāļāļ§āļēāļĄāđāļŦ็āļāļ§่āļē
“I didn’t think a good town marshal was going to run around town like a chicken with his head cut off asking everyone to help. And who saves him? His Quaker wife. That isn’t my idea of a good Western.”
Hawks āđāļ็āļāļāļāđāļีāļĒāļāđāļĢื่āļāļāļŠั้āļ Rio Bravo āļึ้āļāļ้āļ§āļĒāļāļāđāļāļ āđāļāļĒāđāļ้āļāļēāļĄāļāļēāļāļāļēāļāļāļāļĨูāļāļŠāļēāļ§ B. H. McCampbell (Barbara Hawks McCampbell) [āđāļื่āļāļāļ°āđāļ้āļ่āļēāļĨิāļāļŠิāļāļิ์āđāļิ่āļĄāđāļ้āļēāļĄāļē] āļัāļāđāļāļĨāļāļāļāļ āļēāļāļĒāļāļāļĢ์āđāļāļĒ Jules Furthman āļัāļ Leigh Brackett (āļ่āļēāļāđāļ็āļ Writer Stock āļāļāļāļู้āļāļģāļัāļ Hawks)
“I had fun when we wrote Rio Bravo. My daughter was getting interested, and she had one good idea about throwing dynamite. I said, ‘Look, I’ll write the story and give you a credit and it’ll save me money on income tax and you’ll get enough to buy a new house.’”
āđāļĢื่āļāļāļĢāļēāļ§āļāļāļ John T. Chance (āļĢัāļāļāļāđāļāļĒ John Wayne) āļāļēāļĒāļāļģāđāļ āļāđāļĄืāļāļ Rio Bravo, Texas āļี่āļ§ัāļāļŦāļึ่āļāļัāļāļุāļĄāļ้āļāļāļāļēāļĒāļāļāļāļู้āļāļĢāļāļิāļāļิāļāļĨāđāļāļ้āļāļāļิ่āļ āļ้āļāļŦāļēāļ่āļēāļāļāļāļēāļĒ āļึāļāļูāļāļŦāļĄāļēāļĒāļŦัāļ§āļāļēāļāļี่āļāļēāļĒāļĄāļŦāļēāđāļĻāļĢāļĐāļี āļ§่āļēāļ้āļēāļāļัāļāļĨ่āļēāđāļิāļāļĢāļēāļāļ§ัāļĨāļĄāļēāđāļ้āļŦāļĨāļēāļĒāļŠิāļāļāļ āđāļ่āđāļ่āļ§่āļēāļั่āļāļāļģāļĢāļ§āļāļāļ°āđāļĄ่āļĄีāļู้āļ่āļ§āļĒ āļāļĢāļ°āļāļāļāļ้āļ§āļĒ āļāļēāļĒāļิāļāđāļŦāļĨ้āļē Dude (āļĢัāļāļāļāđāļāļĒ Dean Martin), āļāļēāļĒāļāļēāļิāļāļēāļĢ Stumpy (āļĢัāļāļāļāđāļāļĒ Walter Brennan) āđāļĨāļ°āđāļ็āļāļŦāļุ่āļĄāļŦāļ้āļēāđāļŠāđāļāđāļĢāļ Colorado/Ryan (āļĢัāļāļāļāđāļāļĒ Ricky Nelson) āļāļ°āļĄีāđāļāļāļēāļŠāļŦāļĢืāļāđāļĄ่āļี่āļāļ§āļāđāļāļēāļŠāļēāļĄāļēāļĢāļāđāļāļēāļāļāļ°āļĻึāļāļāļĢāļēāļี้
John Wayne āļื่āļāđāļิāļĄ Marion Mitchell Morrison (1907 – 1979) āļัāļāđāļŠāļāļāļ āļēāļāļĒāļāļāļĢ์āļŠัāļāļāļēāļิāļāđāļĄāļĢิāļāļē āļāļāļāđāļŦ้āđāļื่āļāļāđāđāļĢีāļĒāļāļ§่āļē Duke āđāļิāļāļี่ Winterset, Iowa āļ่āļāđāļ็āļāļāļŦāļēāļĢāļ่āļēāļāļĻึāļ American Civil War āļŠ่āļ§āļāđāļĄ่āļĄีāđāļื้āļāļŠāļēāļĒ Scottish, Irish āđāļāļึ้āļāđāļāļĒāļŠāļĄัāļāļĢāđāļ็āļāļāļŦāļēāļĢāđāļĢืāļāđāļ่āļŠāļāļāđāļĄ่āļ่āļēāļ āđāļ้āļุāļāđāļ้āļēāđāļĢีāļĒāļ University of Southern California āļŠāļēāļāļēāļāļāļŦāļĄāļēāļĒ āļāļēāļāļāļēāļĢāđāļ็āļāļัāļāļีāļŽāļēāļีāļĄāļุāļāļāļāļĨ āđāļ่āđāļ้āļĢัāļāļāļēāļāđāļ็āļāļāļāļ้āļāļāļāļāļāļัāļ§āļŦāļĄāļāļŠิāļāļิ์āđāļ้āļุāļāļāļģāļ้āļāļāļāļāļāļāļĨāļēāļāļัāļ āđāļ่āļ็āđāļ้āļĢัāļāļāļēāļĢāļ่āļ§āļĒāđāļŦāļĨืāļāļāļēāļāđāļ้āļ āļāļģāđāļŦ้āđāļ้āļĢู้āļัāļāļัāļāļัāļāđāļŠāļāļ Tom Mix āđāļĨāļ°āļู้āļāļģāļัāļ John Ford āđāļ้āļēāļŠู่āļ§āļāļāļēāļĢāļ āļēāļāļĒāļāļāļĢ์ āđāļĢิ่āļĄāļāļēāļāļāļēāļāđāļ็āļ Prop Boy, Stuntman, āļัāļ§āļāļĢāļ°āļāļāļ āļŊ āļĄีāļื่āļāļึ้āļāđāļāļĢāļิāļāđāļĢื่āļāļāđāļĢāļ Words and Music (1929), āļู้āļāļģāļัāļ Raoul Walsh āđāļŦ็āļāđāļ§āļ§āđāļĨāļĒāļัāļāļĄāļēāđāļŠāļāļāļāļģāđāļ The Big Trail (1930) āđāļ้āļุāļāļŠāļĢ้āļēāļāļĄāļŦāļēāļĻāļēāļĨāđāļ่āļāļģāđāļิāļāđāļĄ่āđāļ้ Flop āļัāļāļŠāļิāļ āļāļģāđāļŦ้āļ่āļ§āļāļāļĻāļ§āļĢāļĢāļĐāļี่āļ่āļēāļāļĄāļēāļ้āļāļāļŦัāļāđāļāđāļĨ่āļāļŦāļัāļāđāļāļĢāļ B āļŠ่āļ§āļāđāļŦāļ่āđāļ็āļ Cowboy Western āļŦāļĨāļēāļĒāļŠิāļāđāļĢื่āļāļ āļāļāļāļĢāļ°āļั่āļ Ford āļัāļāļĄāļēāđāļŠāļāļāđāļ Stagecoach (1939) āļāļĨāļēāļĒāđāļ็āļ Superstar āđāļāļĒāļāļĨัāļ
Wayne āļĢ่āļ§āļĄāļāļēāļāļัāļ Hawks āļั้āļāļŦāļĄāļ 5 āļāļĢั้āļ āļāļĢāļ°āļāļāļāļ้āļ§āļĒ Red River (1948), Rio Bravo (1959), Hatari! (1962), El Dorado (1966) āđāļĨāļ° Rio Lobo (1970)
āļĢัāļāļāļāļāļēāļĒāļāļģāđāļ āļ John T. Chance āļี่āđāļ็āļĄāđāļี่āļĒāļĄāļ้āļ§āļĒāļĻัāļāļิ์āļĻāļĢีāļĨูāļāļู้āļāļēāļĒ āļĒึāļāļĄั่āļāđāļāļุāļāļāļĢāļĢāļĄāļāļĢāļ°āļāļģāđāļāđāļĄ่āđāļāļĢāđāļāļĨี่āļĒāļ āđāļ่āđāļāļĢāļēāļ°āđāļŦ้āđāļ§āļĨāļēāļุ่āļĄāđāļāļĄāļēāļāđāļิāļāđāļāļัāļāļāļēāļĢāļāļēāļ āļāļģāđāļŦ้āļĒัāļāđāļ็āļāđāļŠāļāđāļĢ้āļู่āļāļĢāļāļ āļึ่āļāļŠิ่āļāļี่āđāļāļēāļ้āļāļāļ่āļāļŠู้āđāļāļāļĢั้āļāļี้āđāļĄ่āđāļ่āđāļ่āļāļĨุ่āļĄāļู้āļĢ้āļēāļĒ āđāļ่āļĒัāļāļืāļāļĄāļēāļĢāļĒāļēāļŦāļิāļ āļูāđāļĨ้āļ§āļāļāļŠāļēāļĄāļēāļĢāļāđāļāļēāļāļāļ°āđāļ้āđāļีāļĒāļāļāļĒ่āļēāļāđāļีāļĒāļ§āđāļ่āļēāļั้āļ
āļึāļāļāļ°āđāļ็āļāļ āļēāļāļĨัāļāļĐāļ์ āļāļēāļĢāđāļŠāļāļāļี่āļู้āļāļĄāļุ้āļāđāļāļĒāļิāļāļāļēāļัāļ John Wayne āļĄāļēāđāļ็āļāļāļĒ่āļēāļāļี āđāļ่āļ้āļ§āļĒāđāļāđāļĢāļāļั่āļāļāļāļāļู้āļāļģāļัāļ Hawks āļี่āļัāļ§āļĨāļ°āļāļĢāļ้āļāļāđāļ้āļāļĨัāļāļāļēāļāļāļĒ่āļēāļāļĄāļēāļāđāļāļāļēāļĢāļัāļāđāļāļĨื่āļāļāđāļĢื่āļāļāļĢāļēāļ§āđāļāđāļĢื่āļāļĒāđ Wayne āļ็āļŠāļēāļĄāļēāļĢāļāļāļĨāļāļāļĨ่āļāļĒ āļ่āļēāļĒāļāļāļāļāļģāļูāļ-āļāļēāļĢāđāļŠāļāļ āļัāļāđāļ็āļĄāđāļี่āļĒāļĄāļ้āļ§āļĒāļāļĨāļ°āļāļģāļĨัāļāļ§ัāļāļāļē āļĄีāļีāļ§ิāļāļีāļ§āļēāļี่āļŠุāļāđāļāļีāļ§ิāļāđāļĨāļĒāļ็āļ§่āļēāđāļ้
āļืāļāļāļāļิāļāļēāļĢāđāļŠāļāļāļāļāļ Wayne āļāļ°āđāļĢื่āļāļĒāđāđāļื่āļāļĒāđ āļĢāļēāļ§āļัāļāļāļāđāļื่āļāļŦāļ่āļēāļĒ āļāļĢ้āļēāļāđāļĨāļ “I don’t act, I react.” āđāļ่āđāļāļĢāļēāļ°āļāļ§āļēāļĄāļĨ้āļĄāđāļŦāļĨāļ§āļัāļāļั้āļāđāļ่ The Searcher (1956) āļŦāļĨāļēāļĒāļāļĨāļāļēāļāļัāļāļĄāļēāļ็āđāļĄ่āļāļĢāļ°āļŠāļāļāļ§āļēāļĄāļŠāļģāđāļĢ็āļ āđāļิāļāļāļāļāļāļāļĒัāļāđāļĄ่āļŦāļĄāļāđāļāļŦāļĢāļāļ āđāļ่āļāļēāļĒุāļัāļāļื่āļāđāļŠีāļĒāļāļāļāđāļĢิ่āļĄāđāļĢāļĒāļĢāļē āđāļĨāļĒāļุ่āļĄāđāļāļāļĨāļ°āļāļģāļĨัāļāđāļŦ้āļัāļāļāļēāļĢāđāļŠāļāļāļีāļāļŠัāļāļāļĢั้āļ āđāļŠ่āļิāļāļ§ิāļāļāļēāļāļāļ§āļēāļĄāļั้āļāđāļāļĨāļāđāļāļāļĒ่āļēāļāđāļ็āļĄāđāļี่āļĒāļĄ āļāļģāđāļŦ้āđāļāļĒāļĢāļ§āļĄāđāļĨ้āļ§āļี่āļืāļāļŦāļัāļāļี่ Wayne āļูāļĄีāļāļĨāļ°āļāļģāļĨัāļāļ§ัāļāļāļē āđāļĄ้āļāļ°āļิāļāđāļāļāļāđāđāļāđāļĢื่āļāļāļĢัāļāđāļĢāđāļĄāļāļิāļ (āļัāļ§āđāļāļāļāļēāļĒุ 51 āļูāļāļŠāļēāļ§āļāļēāļĒุ 26 āļ็āļ้āļāļāđāļāļĢ็āļāđāļัāļāļ้āļēāļ) āļŦุ่āļāđāļĢิ่āļĄāļ้āļ§āļĄāđ āđāļ่āļ āļēāļāļĨัāļāļĐāļ์āļี้āļĒัāļāļāļāļāļēāļĒāđāļ้āļีāļāļĒู่
āđāļāļĢ็āļ: āļŦāļĄāļ§āļāļี่ The Duke āđāļŠ่āđāļāļŦāļัāļāđāļĢื่āļāļāļี้ āļืāļāļāļĢั้āļāļŠุāļāļ้āļēāļĒāļัāļāļั้āļāđāļ่ Stagecoach (1939) āđāļāļĢāļēāļ°āļŠāļ āļēāļāļāļāļāļĄัāļāļāļĢุāļāđāļāļĢāļĄāđāļ็āļĄāļี่
Dean Martin āļื่āļāđāļิāļĄ Dino Paul Crocetti (1917 – 1995) āļัāļāļĢ้āļāļ āļัāļāđāļŠāļāļ āļāļĨāļāļŠัāļāļāļēāļิāļāđāļĄāļĢิāļāļē āđāļ้āļēāļāļāļāļāļēāļĒāļē ‘King of Cool’ āđāļิāļāļี่ Steubenville, Ohio āđāļāļāļĢāļāļāļāļĢัāļ§āļิāļāļēāđāļĨี่āļĒāļ āļัāļ§āđāļāļēāļูāļāļัāļāļāļĪāļĐāđāļĄ่āđāļ้āļāļāđāļ้āļēāđāļĢāļāđāļĢีāļĒāļāļāļāļāļāļēāļĒุ 5 āļāļ§āļ āļĨāļēāļāļāļāļāļēāļāđāļĢāļāđāļĢีāļĒāļāļāļāļāļāļēāļĒุ 10 āļāļ§āļ āđāļāļĢāļēāļ°āļิāļāļ§่āļēāļัāļ§āđāļāļāđāļ่āļāļāļ§่āļēāļāļĢู āļāļāļāļēāļĒุ 15 āļāļĨāļēāļĒāđāļ็āļāļัāļāļĄāļ§āļĒ Prizefighting āļāļēāļĒāļē Kid Crochet āļัāļāļāļēāļĻัāļĒāļāļĒู่āļāļāļēāļĢ์āļāđāļĄāļāļ์āđāļีāļĒāļ§āļัāļ Sonny King āļāļāđāļĨิāļāļ่āļāļĒāļĄāļ§āļĒāļāļģāļāļēāļāđāļ Casino, āđāļŠีāļĒāļāļีāļāļĨāļēāļĒāđāļ็āļāļัāļāļĢ้āļāļ āļัāļāļู่āļัāļ Jerry Lewis āļāļāļāļĢāļēāļĒāļāļēāļĢāđāļāļĢāļัāļĻāļ์, āļัāļāļĢāļēāļĒāļāļēāļĢāļ§ิāļāļĒุ, āļ āļēāļāļĒāļāļāļĢ์āļāļēāļĒāđāļี่āļĒāļ§āđāļĢื่āļāļāđāļĢāļ The Thousand Bedrooms (1957), āđāļ่āļāļัāļāļัāļ Rio Bravo (1959), Who Was That Lady? (1960), Ocean’s 11 (1960), āđāļĄ่āļ่āļāļĒāļ้āļēāļ§āļŦāļ้āļēāļāļēāļĢāđāļŠāļāļāļ āļēāļāļĒāļāļāļĢ์āļัāļ āđāļĨāļĒāļัāļāļัāļ§āļĄāļēāđāļĨ่āļ Comedy āļีāļĢีāļĒ์ The Dean Martin Show (1965 – 1974) āļั้āļāļŦāļĄāļ 9 āļีāļัāļ āļāļ§āļēāļĄāļĒāļēāļ§ 264 āļāļāļ
āļĢัāļāļāļ Dude/BorrachÃģn āļāļีāļāļāļēāļĒāļāļģāđāļ āļāđāļĄืāļāļ Rio Bravo, Texas āļี่āļ§ัāļāļŦāļึ่āļāļāļāļŦāļĨุāļĄāļĢัāļāļŦāļิāļāļŠāļēāļ§ āļāļāļāđāļิāļāļāļēāļāđāļāļัāļāđāļāļāļึāļ Mexico āđāļĨ้āļ§āļูāļāļŦัāļāļāļ āļิāļāđāļŦāļĨ้āļēāđāļĄāļēāļĄāļēāļĒāļāļāļิāļāđāļĨิāļāđāļĄ่āđāļ้ āļŦāļ§āļāļāļĨัāļāļĄāļēāļŠāļ āļēāļāđāļŦāļĄืāļāļāļāļāļāļēāļ āđāļ้āļĢัāļāđāļāļāļēāļŠāļāļēāļ John T. Chance āđāļŦ้āļŦāļ§āļāļāļĨัāļāļĄāļēāđāļ็āļ Ranger āđāļ่āļ็āđāļĄ่āđāļ่āđāļĢื่āļāļāļ่āļēāļĒ āđāļāļĢāļēāļ°āđāļĄื่āļāđāļŦāļĢ่āđāļิāļāļāļēāļāļēāļĢāļĨāļāđāļāļ āļĄืāļāđāļĄ้āļŠั่āļāļัāļāļืāļāđāļĄ่āđāļ้āđāļĨ้āļ§āļāļ°āļ่āļāļŠู้āđāļāļēāļāļāļ°āļĻัāļāļĢูāļู้āļĢ้āļēāļĒāđāļ่āļāđāļĢ
āļ āļēāļĒāļāļāļāļูāđāļŦāļĄืāļāļāļัāļ§āđāļāļāļĒัāļāļ่āļ§āļĒāđāļĄ่āđāļ้ āđāļ่ Dude āļĒāļēāļĄāļĄีāļŠāļิ āļāļ§āļēāļĄāļิāļāļ่āļēāļāđāļāļĨีāļĒāļ§āļāļĨāļēāļāļึ่āļāļāļēāđāļ้āđāļŠāļĄāļ āđāļāļĄāļāļāļāļāļģāļāļ°āđāļĢāļāļāļāļāļĢāļāļ āđāļĄ่āļĄีāđāļāļĢāļāļēāļāļิāļāļึāļāđāļ้āđāļ่ āļึ่āļāļĨ้āļ§āļāđāļ็āļĄāđāļāļ้āļ§āļĒāļāļ§āļēāļĄāļ้āļēāļิ่āļāđāļĄ่āļāļĨัāļ§āļāļēāļĒ āļāļāđāļāļĢāļēāļ°āļีāļ§ิāļāđāļĄ่āļĄีāļāļ°āđāļĢāļ้āļāļāđāļŠีāļĒāļีāļāđāļĨ้āļ§āļāļĢāļ°āļĄัāļ
āđāļิāļĄāļั้āļāļāļāļāļēāļāļี้ Hawks āļĄีāļāļ§āļēāļĄāļŠāļāđāļ Montgomery Clift āļี่āđāļāļĒāļĢ่āļ§āļĄāļāļēāļāļัāļāļāļāļ Red River (1948) āđāļāļĄāļāļĢāļ°āļāļ John Wayne āļ้āļ§āļĒ āđāļ่āđāļāļĢāļēāļ°āđāļ้āļēāļัāļ§āđāļ็āļ Democrat āđāļĄ่āļ่āļāļĒāļāļāļāļัāļĻāļāļ°āļāļēāļĢāđāļĄืāļāļāļāļāļāļั้āļāļู่āļŠัāļāđāļ่āļēāđāļŦāļĢ่āđāļĨāļĒāļāļิāđāļŠāļāļĢ่āļ§āļĄāļāļēāļāļัāļāļีāļ āđāļ่āļ็āđāļ้āđāļāļ°āļāļģ Dean Martin āļี่āđāļāļĒāļĢ่āļ§āļĄāļāļēāļāļัāļāđāļĢื่āļāļ The Young Lions (1958) āđāļŦ้āļĄāļēāļĢัāļāļāļāđāļāļ
āđāļāļ§ัāļāļี่ Hawks āļัāļāļāļāđāļāļ Martin āļāļĢั้āļāđāļĢāļāļāļāļāļŠāļēāļĒāđ āļŦāļĨัāļāđāļĢีāļĒāļāļĢู้āļ§่āļēāđāļ้āļēāļัāļ§āļ้āļāļāļิāļāļāļĢāļāļĄāļēāļāļēāļ Las Vagas āļāļāļāđāļี่āļĒāļāļืāļāļŦāļĨัāļāļāļēāļĢāđāļŠāļāļāđāļŠāļĢ็āļ āļĢู้āļŠึāļāļāļĢāļ°āļัāļāđāļāđāļāļāļ§āļēāļĄāļุ่āļĄāđāļāļ้āļāļāļี้āļĄāļēāļāđ āđāļāļēāļ็āđāļĄ่āļāļāļŠัāļĄāļ āļēāļĐāļ์āļāļ°āđāļĢ āļĒื่āļāļุāļāđāļŦ้āļĨāļāļāđāļŠ่āđāļĨ้āļ§āļāļāļāđāļ้āļĢัāļāļāļāđāļāļĒāļัāļāļี
āļāļēāļĢāđāļŠāļāļāļāļāļ Martin āļ่āļēāļāļ°āļ้āļāļāļĄāļāļāļĢāļēāļāļ§ัāļĨāļāļ°āđāļĢāļŠัāļāļāļĒ่āļēāļāđāļŦ้āđāļĨāļĒāļāļ° āļĄีāļāļ§āļēāļĄāļŠāļĄāļāļĢิāļāđāļŦāļĄืāļāļāļāļāļี้āđāļĄāļē Hangover āļĨāļāđāļāļāļĄāļēāļāđ āđāļŦ็āļāļ§่āļēāļู้āļ่āļ§āļĒāđāļŦ้āļāļģāđāļāļ°āļāļģāļāļĢึāļāļĐāļēāđāļĄ่āđāļ่āđāļāļĢāļื่āļāđāļāļĨ āđāļื่āļāļāļŠāļิāļ Marlon Brando āļี่āđāļāļĒāđāļ้āļĢ่āļ§āļĄāļāļēāļāļัāļāļāļāļāđāļĢื่āļāļ The Young Lions (1958) āļ§ิāļāļēāļีāļี่āļัāļ§āļĨāļ°āļāļĢāļĄีāļāļ§āļēāļĄāļั้āļāđāļāļāļĢิāļāļāļ°āļāļĨัāļāļัāļ§āļāļĨัāļāđāļ āđāļāļĒāđāļĄ่āļĢู้āļัāļ§āļĄืāļāļāļāļāđāļāļēāļŦāļēāļĒāļŠั่āļ āļāļēāļāļ่āļāđāļāđāļĨ่āļāļีāļāļēāļĢ์āđāļ้āđāļŠีāļĒāļāļĒ่āļēāļāļั้āļ
āļāļĄāļ่āļāļāļ้āļēāļāļāļēāļāđāļĄ่āļึāļāļัāļāļāļēāļĢāļāļĢāļ°āļāļģāđāļāļāļēāļāđāļāļĨāļ์āđāļĄ็āļāļ์āļāļāļāļัāļ§āļĨāļ°āļāļĢāļี้ āļŦāļĨัāļāļāļēāļāđāļĨāļāđāļāļĨี่āļĒāļāļัāļ§āļāļĢāļ°āļัāļāļāļāđāļ็āļāļāļēāļĢāļāļ§āļĨāļืāļāļั่āļ§āđāļ āđāļ่āļี่āđāļŦāļāđāļ้āļĄีāļāļēāļĢāļŦัāļāļĄุāļĄāđāļĨ็āļāđ āļāļģāđāļŦ้āļ่āļēāļĒāļāļĢāļ°āđāļāļāļāļĨัāļāļāļĨāļēāļĒāļĄāļēāđāļ็āļāđāļ้āđāļāļĢีāļĒāļāđāļŠีāļĒāļāļĒ่āļēāļāļั้āļ āļี่āļ้āļāļāļāļĄāļั้āļāļāļāđāļีāļĒāļāļāļāđāļĨāļ°āļāļ§āļēāļĄāļิ่āļāļāļāļ Martin āđāļŠāļāļāļāļāļāļāļēāļāļี้āđāļ้āļูāļŦāļĨ่āļāļึ้āļāļĄāļēāđāļĨāļĒ
Eric Hilliard Nelson (1940 – 1985) āļัāļāļĢ้āļāļ Rock&Roll āļัāļāđāļŠāļāļāļŠัāļāļāļēāļิāļāđāļĄāļĢิāļāļē āđāļิāļāļี่ Teaneck, New Jersey, āļ่āļāđāļĄ่āđāļ็āļāļูāđāļ้āļัāļāļĢ้āļāļāļัāļāđāļŠāļāļāđāļ่āļāļัāļ āļั้āļāđāļ่āļāļēāļĒุ 8 āļāļ§āļāļĢ่āļ§āļĄāļัāļāļāļĢāļāļāļāļĢัāļ§āļāļāļāļĢāļēāļĒāļāļēāļĢ Reality āđāļĢื่āļāļ The Adventures of Ozzie and Harriet (1952 – 1966) āđāļāļēāļ°āļิāļāļีāļ§ิāļāļāļĢāļāļāļāļĢัāļ§āļāļāļāļāļ§āļāđāļāļē āļāļāļāļēāļĒุ 16 āļāļāļāļิāļāđāļิ้āļĨāđāļĢāļ āļ่āļāļĒāđāļĄีāļื่āļāđāļŠีāļĒāļāļึ้āļāļāļāļāļĢāļ°āļั่āļāđāļāļĨāļ Poor Little Fool āļึ้āļāļัāļāļัāļ 1 Billboard Chart āļāļĨāļēāļĒāđāļ็āļāļāļģāļāļēāļāđāļāļĒāļัāļāļี āļŠāļģāļŦāļĢัāļāļ āļēāļāļĒāļāļāļĢ์āđāļ้āļĢัāļāđāļĨืāļāļāđāļŦ้āđāļĨ่āļ Rio Bravo (1959) āđāļāļĢāļēāļ°āļāļ§āļēāļĄāļŦāļĨ่āļāđāļŦāļĨāļēāļŠāļēāļ§āđāļāļĢี๊āļ āđāļāļāļี่ Elvis Presley āđāļĢื่āļāļāļĄāļēāļāļ่āļēāļัāļ§āļŠูāļ
āļĢัāļāļāļ Colorado/Ryan āđāļ็āļāļŦāļุ่āļĄāļāļāļืāļāļŠāļāļāļāļĢāļ°āļāļāļ āđāļāļĨีāļĒāļ§āļāļĨāļēāļ āļĄāļēāļāđāļ่āļŦ์ āļāļ°āđāļĒāļāļāļ°āļĒāļēāļ āļāļēāļāļ้āļēāļāļ§่āļēāļัāļāļืāļāđāļ§ āļĒิāļāđāļĄ่āļ (āļ่āļēāļāļ°āļāļĢิāļāļāļĒู่) āļัāļāļูāđāļ้āļāļ§āļāļŦāļĒิ่āļāļĒāđāļŠ āđāļ่āļāļĨัāļāđāļีāļĒāļĄāļāļāļŠāļāđāļ่āđāļĢื่āļāļāļāļāļāļāļāđāļāļ āļĒิāļāļĒāļāļĄāđāļ้āļēāļĢ่āļ§āļĄāđāļ็āļ Ranger āđāļŦāļุāļāļĨāđāļāļĢāļēāļ°āļ้āļāļāļāļēāļĢāđāļŦ็āļāļāļĨāļĨัāļāļ์āļี่āļāļ°āđāļิāļāļึ้āļāļ่āļāđāļāđāļāļĢāļ°āļĒāļ°āđāļāļĨ้āđāļัāļ§
Nelson āļĄัāļāļŦāļĨ่āļāđāļ่āļŦ์āļāļĢāļ°āļāļēāļāđāļāļŠāļēāļ§āļāļĢิāļāđāļāļ° āļāļāļูāļāļี่āđāļŠ่āļĄāļēāđāļ่āļĨāļ°āļāļĢั้āļāļŠāļ°āļ้āļāļāļāļ§āļēāļĄāđāļāļĨีāļĒāļ§āļāļĨāļēāļāļāļāļāļัāļ§āļĨāļ°āļāļĢ āļĒิ่āļāļāļģāđāļŦ้āļĄีāļāļ§āļēāļĄāđāļĢ้āļēāđāļāļ่āļēāļ้āļāļŦāļē āđāļĄ้āđāļŦāļุāļāļĨāļāļēāļĢāđāļ้āļēāļĢ่āļ§āļĄ Ranger āļāļ°āđāļĄ่āđāļ้āļĄีāļุāļāļāļĢāļĢāļĄāļāļ°āđāļĢāđāļāļāļāļĒู่ āđāļ่āļ่āļ§āļĒāđāļิ่āļĄāđāļāļāļēāļŠāđāļŦ้āļั่āļāļāļĢāļ°āđāļāļ āļāļāļ°āđāļ้āđāļ่āđāļĄ่āļĒāļēāļāļāļ°āđāļĢ
Angie Dickinson āļื่āļāđāļิāļĄ Angeline Brown (āđāļิāļāļี 1931) āļัāļāđāļŠāļāļāļŦāļิāļāļŠัāļāļāļēāļิāļāđāļĄāļĢิāļัāļ āđāļิāļāļี่ Kulm, North Dakota, āļāļĢāļāļāļāļĢัāļ§āđāļื้āļāļŠāļēāļĒ German āđāļāļึ้āļāļั้āļāđāļāđāļ็āļāļัāļāļุāļĢāļิāļ āđāļ่āļāļāļāļĢāļ°āļāļ§āļ Beauty Pagan āđāļĄื่āļāļี 1953 āđāļ้āļĢāļēāļāļ§ัāļĨāļี่ 2 āļึāļāļŦัāļāđāļŦāļāļ§āļēāļĄāļŠāļāđāļāļŠู่āļāļēāļĢāđāļŠāļāļ āđāļĢิ่āļĄāļāļēāļāļĨāļ°āļāļĢāđāļāļĢāļัāļĻāļ์ āļāļēāļĄāļ้āļ§āļĒāļ āļēāļāļĒāļāļāļĢ์ āđāļ้āļāđāļิāļāļัāļ Rio Bravo (1959), Ocean’s 11 (1960), The Killers (1964), The Chase (1966) āļŊ āļāļĨāļēāļĒāđāļ็āļāļāļģāļāļēāļāļัāļāļีāļĢีāļĒ์ Police Woman (1974 – 1978)
āļĢัāļāļāļ Feathers āļŦāļิāļāļŠāļēāļ§āļี่āļĨ่āļāļāļĨāļāļĒāļĄāļēāļัāļāļĢāļ Stagecoach āļัāļāđāļิāļāļāļāđāļāļāļูāļāļāļ°āļāļēāļัāļ John T. Chance āļāļĒāļēāļĒāļēāļĄāļ่āļāļĒāđāļŦāļĒื่āļāļāļĒ่āļēāļāļŠุāļāļāļ§āļēāļĄāļŠāļēāļĄāļēāļĢāļ āđāļ่āđāļāļēāļāļ°āļĢู้āļัāļ§āļŦāļĢืāļāđāļĄ่āļ§่āļēāļāļēāļĢāļāļĢāļ°āļāļģāļāļāļāđāļāļāļั้āļāļŦāļĄāļāļ้āļāļāļāļēāļĢāļŠื่āļāļึāļāļāļ°āđāļĢ
āđāļĄ้āļāļ°āļĄิāđāļ้āļŠāļ่āļēāļāļēāļĄāđāļ็āļāļāļĢāļ°āļāļēāļĒāđāļีāļĒāļāđāļ่āļē Jean Arthur āļŦāļĢืāļāđāļŠāļ่āļŦ์āļĒั่āļ§āđāļĒ้āļēāļĒāļ§āļāđāļāļ Lauren Bacall āđāļ่āļืāļāļ§่āļē Dickinson āļāļĢāļēāļāļāļāļ§āļēāļĄāđāļ็āļāļิāļŠāļāļĢีāđāļāļĻāļ่āļēāļึāļāļูāļāļāļ§่āļē āļŦ้āļēāļ§āļŦāļēāļāđāļŦāļĄืāļāļāļู้āļāļēāļĒ āđāļĨāļ°āļĄีāļāļ§āļēāļĄāđāļ็āļāļี่āđāļĨ็āļāđ āđāļĢีāļĒāļ§āļāļēāļāļāļāđāļāļāļĄāļēāļāļēāļ Marlene Dietrich āđāļ้āļēāļāļāļĨāđāļĨāļāļั่āļ Hawksian āđāļ้āļāļĒ่āļēāļāđāļĄ่āđāļ็āļāļŠāļāļāļĢāļāļāđāļāļĢ
āļŠัāļāđāļāļāļ§่āļēāļื่āļāļัāļ§āļĨāļ°āļāļĢ Chance, Dude, Colorado, Feathers, Stumpy āļŊ āļ่āļēāļāļŠāļ°āļ้āļāļāđāļāļāļĨัāļāļĐāļ์āđāļ่āļāļāļāļāļัāļ§āļĨāļ°āļāļĢāļั้āļāđāļāļāļāļĄāļē (āļāļāļāđāļāļāļēāļāļ้āļēāļāļĨāļāđāļŠีāļĒāļĄāļēāļāļāļ§่āļē) āļ็āđāļĄ่āļĢู้āļĄีāđāļāļĢāđāļāļēāđāļāļั้āļāđāļ็āļāļื่āļāļāļāļāļĢิāļāđāļŦāļĢืāļāđāļāļĨ่āļēāļāļ°
āļ่āļēāļĒāļ āļēāļāđāļāļĒ Russell Harlan āļāļēāļāļĨ้āļāļāļŠัāļāļāļēāļิāļāđāļĄāļĢิāļāļēāļĒāļāļāļีāļĄืāļ āđāļ้āļēāļิāļ Oscar: Best Cinematography āļึāļ 6 āļāļĢั้āļ āđāļ่āđāļĄ่āđāļāļĒāļāļ§้āļēāļŠัāļāļĢāļēāļāļ§ัāļĨ āļāļĨāļāļēāļāđāļ่āļāļāļēāļิ Red River (1948), Lust for Life (1956), Rio Bravo (1959), To Kill a Mockingbird (1962), Hatari! (1962), The Great Race (1965) āļŊ
āļŠāļāļēāļāļี่āļ่āļēāļĒāļāļģ Old Tucson Studios, Arizona āđāļิāļĄāļāļāļāđāļ็āļ Columbia Pictures āļŠāļĢ้āļēāļāļึ้āļāđāļื่āļāđāļ็āļāļāļēāļāļŦāļĨัāļāļŦāļัāļāđāļĢื่āļāļ Arizona (1940) āđāļื่āļāļāļāļēāļāļĄีāļื้āļāļี่āļāļ§้āļēāļāļāļ§āļēāļāļāļ§่āļē 1,200 āļāļēāļĢāļēāļāđāļĄāļāļĢ (āļāļĢāļ°āļĄāļēāļ 750,000 āđāļĢ่) āđāļ้āļĢัāļāļāļ§āļēāļĄāļิāļĒāļĄāļŠูāļāļĄāļēāļāđ āļāļāļึāļāļัāļāļāļัāļāļĄีāļ āļēāļāļĒāļāļāļĢ์/āđāļāļĢāļัāļĻāļ์ āļāļ§่āļēāļĢ้āļāļĒāđāļĢื่āļāļāđāļิāļāļāļēāļāļĄāļēāļ่āļēāļĒāļāļģāļี่āļี่ āđāļĨāļ°āļัāļāļุāļัāļāļĒัāļāđāļิāļāđāļ็āļ Theme Park āļĢāļāļāļĢัāļāļัāļāļ่āļāļāđāļีāļĒāļ§āđāļ้āđāļ็āļāļŦāļĄื่āļāđāļāļāļ่āļāļ§ัāļ
āļŦāļัāļāļāļāļ Howard Hawks āļึ้āļāļื่āļāđāļĢื่āļāļāļัāļ§āļĨāļ°āļāļĢāđāļāļēāđāļ่āļูāļāļุāļĒāļŠāļāļāļāļēāļāļēāļāđāļีāļĒāļāļāļēāļāđāļāļ° āļ้āļ§āļĒāđāļŦāļุāļี้ Prologue āļāļĢāļ°āļĄāļēāļ 4-5 āļāļēāļีāđāļĢāļāļāļāļāļŦāļัāļ āļี่āđāļāļ็āđāļĨāļĒāļāļĢāļ°āļāļāļ้āļ§āļĒāļāļēāļĢāļāļāđāļ้āđāļŠีāļĒāļāļŠāļāļāļāļēāļั่āļ§āļāļĢāļēāļ§ (āđāļ่āđāļ็āļāđāļŠีāļĒāļ Sound Effect āļี่āđāļิāļāļāļēāļ Soundtrack āđāļāļāđāļ่āļāļึ้āļāļĄāļē) āđāļ็āļāļāļēāļĢāļāļāļāļ§่āļēāļัāļāļ็āļāļģāļŦāļัāļāđāļีāļĒāļāđāļ็āļāļāļ° (āļāļĢิāļāđ Hawks āđāļ้āļēāļ§āļāļāļēāļĢāļĄāļēāļั้āļāđāļ่āļĒุāļāļŦāļัāļāđāļีāļĒāļ āđāļ่āļāļāļึāļāļĒุāļāļŦāļัāļāļูāļāļ็āđāļĨāļĒāļ้āļāđāļĄ่āđāļāļĒāļŦāļĒุāļ)
āļāļēāļāļ āļēāļāļāļāļāļŦāļัāļ āļĄัāļāļāļ°āļĄีāļĢāļ°āļัāļ Medium Shot (āļāļĢึ่āļāļัāļ§) āđāļĄ่āļ็ Full Shot (āđāļŦ็āļāļĻีāļĢāļĐāļ°āļāļĢāļāđāļ้āļē) āļ้āļāļĒāļัāļāļāļ°āļĄีāļ āļēāļāļĢāļ°āļĒāļ°āđāļāļĨ Long Shot āļŦāļĢืāļāđāļāļĨ้āļāļāđāļŦ็āļāļŠีāļŦāļ้āļē Close-Up
āļ็āļĄีāļāļāļั่āļāļัāļāļ็āļāļ Close-Up āļāļāļāļŦāļัāļ 4-5 āļāļĢั้āļāđāļ่āļēāļั้āļ āļāļĢāļ°āļāļāļāļ้āļ§āļĒ
– āļāļāļ° Joe Burdette āļŦāļĒิāļāļืāļāļึ้āļāļĒิāļ
– āļĄืāļāļāļāļ Dude āļāļĒāļēāļĒāļēāļĄāļี่āļāļ°āļĄ้āļ§āļāļุāļŦāļĢี่
– Dude āļĢิāļāđāļŦāļĨ้āļēāđāļāđāļ้āļ§āļāļĨัāļāđāļŠ่āļāļ§āļ
– āđāļāļĨื่āļāļāđāļ้āļēāđāļŦ็āļāđāļ้āļ§āđāļีāļĒāļĢ์āļี่āļĄีāđāļĨืāļāļāļŦāļĒāļ
– āđāļืāļāļāļĢāļāļāđāļ้āļēāļāļāļ Chance āļูāļāļิāļāļัāļāđāļ้āļēāļี้
āļŠิ่āļāļี่āđāļāļāđāļ่āļāļāļāļāļāļēāļĢāļ่āļēāļĒāļ āļēāļ āļืāļāđāļāđāļĢāļāļั่āļāļāļāļāļู้āļāļģāļัāļ Hawks āļี่āļĄีāļāļ§āļēāļĄāđāļ็āļāļāļĢāļĢāļĄāļāļēāļิ āļĨื่āļāđāļŦāļĨ āļ่āļāđāļื่āļāļ āļัāļāļ§āļēāļāđāļŦ้āļัāļāđāļŠāļāļāļŦāļĨัāļāļ้āļāļāļāļĒู่āļึ่āļāļāļĨāļēāļāļ āļēāļāđāļ่āļēāļั้āļ (āļ้āļēāļĄีāļŦāļĨāļēāļĒāļāļāļŠāļāļāļāļēāđāļāļ็āļāļāđāļีāļĒāļ§ āļ็āļĄัāļāļāļ°āļŦāļēāļāļģāđāļŦāļ่āļāļึ่āļāļāļĨāļēāļāļĢāļ°āļŦāļ§่āļēāļāđāļŠāļĄāļ) āļāļģāđāļŦ้āđāļ§āļĨāļēāđāļิāļāđāļāļĄāļē āļŦāļĄุāļāļัāļ§ āļŦāļĢืāļāđāļāļĨื่āļāļāđāļŦāļ§āļāļģāļāļ°āđāļĢ āļāļĨ้āļāļāļĄัāļāļāļ°āļŦāļĄุāļāđāļāļāļิ่āļ āđāļĄ่āļ็āļิāļāļāļēāļĄ Tracking āļัāļ§āļĨāļ°āļāļĢāļāļĒู่āđāļŠāļĄāļ
āļัāļāļ่āļāđāļāļĒ Folmar Blangsted (1904 – 1982) āļัāļāļัāļāļ่āļāļŠัāļāļāļēāļิ Danish āđāļāļĒāđāļ็āļāļู้āļāļģāļัāļāđāļ่āđāļŦāļĄืāļāļāļāļ°āđāļāđāļĄ่āļĢุ่āļ āļัāļāļ่āļāļŦāļัāļāļัāļāļāļĒ่āļēāļ Flamingo Road (1949), A Star is Born (1954), Rio Bravo (1959), Camelot (1967) āļŊ
āļāļģāđāļิāļāđāļĢื่āļāļāđāļāļĄุāļĄāļĄāļāļāļāļāļ John T. Chance āļāļģāđāļŠāļāļāļĢูāļāđāļāļāļี่āđāļĢีāļĒāļāļ§่āļē Slice-Of-Life āļ§ิāļีāļีāļ§ิāļāļāļ§āļēāļĄāđāļ็āļāđāļāđāļāļĢāļāļ 7 āļ§ัāļāļāļāļāļāļēāļĒāļāļģāđāļ āļ Rio Bravo āļี่āļ้āļāļāļāļĒāļēāļĒāļēāļĄāļāļģāļุāļāļāļĒ่āļēāļāđāļื่āļāļĄิāđāļŦ้āļัāļāđāļāļĐāļāļีāļāļēāļāļāļĢāļĢāļĄāļูāļāļิāļāļัāļ§āļŦāļีāļāļāļāļāļēāļāļุāļāđāļ้ āļāļāļ°āđāļีāļĒāļ§āļัāļāļ็āļ้āļāļāļāļāļĒāđāļ้āļัāļāļŦāļēāļāļ§āļēāļĄāļ§ุ่āļāļ§āļēāļĒāđāļāļีāļ§ิāļāļāļĒ่āļēāļ āļāļ°āļāļģāļĒัāļāļีāļัāļāļŦāļิāļāļŠāļēāļ§āļี่āļāļĒāļēāļĒāļēāļĄāļ่āļāļĒāđāļŦāļĒื่āļāļัāļāđāļāļēāđāļŦāļĨืāļāđāļิāļ??
āļ āļēāļĐāļēāļāļāļāļāļēāļĢāļัāļāļ่āļāļĄีāļāļ§āļēāļĄāđāļ็āļāļŠāļēāļāļĨāļĒิ่āļ āđāļĢื่āļāļāļĢāļēāļ§āļāļ°āļูāļāđāļ่āļāļāļāļāđāļ็āļāļŠ่āļ§āļāđ āđāļāļĢāļ°āļŦāļ§่āļēāļ Sequence āļั้āļāđāļāļēāļĢāļัāļāļ่āļāļāļ°āđāļ็āļāđāļāļāļāļāļิāļั่āļ§āđāļ āđāļĨืāļāļāļĄุāļĄāļāļĨ้āļāļāļี่āļĄีāļāļ§āļēāļĄāļ่āļāđāļื่āļāļāļāļēāļāļ็āļāļāļ่āļāļ āđāļ่āđāļĄื่āļāļāļāļāļēāļāđāļāļĨี่āļĒāļāļีāļāļāļ°āđāļ้āļāļēāļĢ Cross-Cutting āđāļื่āļāļŠāļĢ้āļēāļāļāļ§āļēāļĄāļĨื่āļāđāļŦāļĨāđāļŦ้āļัāļāđāļĢื่āļāļāļĢāļēāļ§
āļāļĄāđāļิ่āļāļĄāļēāļŠัāļāđāļāļāļāļāļัāļāļŦāļัāļāđāļĢื่āļāļāļี้āļ§่āļē āļุāļ Sequence āļāļ°āđāļĄ่āļĄีāļ็āļāļāļั้āļāļ้āļ (Establish Shot) āļืāļāļāļāļāļāļāļēāļāļŦāļึ่āļāļึ้āļāļีāļāļัāļāđāļ āļ็āļāļ°āđāļ้āļēāļŠู่āđāļĢื่āļāļāļĢāļēāļ§āđāļāļĒāļัāļāļีāđāļĄ่āļĄีāļāļēāļĢāļั้āļāļ่āļēāļĒื้āļāļĒัāļāļĢāļāļāļāļĒāļāļ°āđāļĢ āļี่āļāļāļืāļāđāļŦāļุāļāļĨāļŠāļģāļัāļāđāļŦ้āļŦāļัāļāļāļāļ Hawks āļĄีāļāļ§āļēāļĄāļ่āļāđāļื่āļāļāļĨื่āļāđāļŦāļĨāļāļĒ่āļēāļāļĄāļēāļ āļัāļ§āļĨāļ°āļāļĢāļูāļāļāļāļāļēāļāļāļēāļāļŦāļึ่āļ āļāļ Cross-Cutting āđāļิāļāđāļ้āļēāļึāļāļāļēāļāļ่āļāđāļāļ็āđāļĢิ่āļĄāļุāļĒāļัāļāļ่āļāđāļĨāļĒ āđāļĄ่āđāļŦ้āđāļŠีāļĒāđāļ§āļĨāļē
āđāļāļĨāļāļāļĢāļ°āļāļāļāđāļāļĒ Dimitri Tiomkin āļีāļāļāļ§ีāļŠัāļāļāļēāļิāļĢัāļŠāđāļีāļĒ āļีāļāļŦāļึ่āļāļāļģāļāļēāļāļāļāļ Hollywood āđāļ้āļēāļิāļ Oscar 22 āļāļĢั้āļ āļāļ§้āļēāļĄāļē 4 āļĢāļēāļāļ§ัāļĨ āļāļēāļ High Noon (1952) 2 āļĢāļēāļāļ§ัāļĨ [Best Original Score, Best Original Song], The High and the Mighty (1954), The Old Man and the Sea (1958)
āļืāļāđāļ็āļāļāļ§āļēāļĄāđāļ๋āļāđāļ้āļ āđāļ่āļāļĢิāļāđāļāļāļ Hawks āđāļĨืāļāļāđāļ้āļāļĢิāļāļēāļĢ Tiomkin āļี่āļāļģāđāļāļĨāļāļāļĢāļ°āļāļāļāđāļŦ้ High Noon (1952) āđāļ่āļŠ่āļ§āļāđāļŦāļ่āļāļāļāļŦāļัāļāļāļ°āđāļĄ่āđāļ่ Soundtrack āļĒāļēāļ§āđāļāļĢāļ°āļāļāļāļŠāļĢ้āļēāļāļāļĢāļĢāļĒāļēāļāļēāļĻ āđāļ่āļĄีāļĨัāļāļĐāļāļ°āđāļิāļĄāđāļ็āļĄāļัāļāļŦāļ§āļ°āļāļĨ้āļēāļĒāļัāļ Sound Effect āđāļŠีāļĒāļĄāļēāļāļāļ§่āļē āļŠ่āļ§āļāļี่āđāļŦāļĨืāļāļāļ°āļืāļāļāļāđāļāļĨāļāļāļģāļĢ้āļāļ
Rio Bravo āđāļ่āļāļāļģāļĢ้āļāļāđāļāļĒ Paul Francis Webster āļัāļāļĢ้āļāļāđāļāļĒ Dean Martin āļĢ่āļ§āļĄāļัāļ Nelson Riddle Orchestra, āļāļāđāļāļĨāļāļี้āļāļģāļāļģāļāļāļāļāļēāļ Red River āđāļĨ้āļ§āļĄāļēāđāļāļĨี่āļĒāļāļāļģāļĢ้āļāļ/āļัāļāļĢ้āļāļāđāļŦāļĄ่ āđāļŦ้āļŠัāļĄāļัāļŠāļี่āđāļāļāļ่āļēāļāļāļāļāđāļāļāļāļŠāļĄāļāļ§āļĢ (Red River āđāļ้āđāļ็āļāđāļāļĨāļāđāļิāļ Opening Credit āļāļāļ°āļี่ Rio Bravo āļืāļāđāļāļĨāļāļิāļ Ending)
El DegÞello (1836) [The Cutthroat Song] āđāļ็āļāļāļāđāļāļĨāļāļี่āļāļŦāļēāļĢ Mexican āđāļ้āļŠ่āļāļŠัāļāļāļēāļāļŠื่āļāļŠāļēāļĢāļัāļ General Antonio Lopez de Santa Anna āđāļĨāļ°āļāļĢāļĢāļāļāļ§āļāļāļāļāļāļāđāļāļāļี่āļิāļāļāļĒู่āđāļāļุāļāļāđāļĄāļĢิāļัāļāļี่ Alamo āđāļื่āļāļāļāļāļ§่āļēāļāļ§āļēāļĄāļ่āļ§āļĒāđāļŦāļĨืāļāļāļģāļĨัāļāļĄāļēāļึāļ āđāļāļĢีāļĒāļĄāļัāļ§āđāļŦ้āļāļĢ้āļāļĄ,
āđāļāļĢ็āļ: āļู้āļāļģāļัāļ Sergio Leone āļ้āļāļāļāļēāļĢāđāļŦ้ Ennio Morricone āđāļีāļĒāļāđāļāļĨāļāļāļĢāļ°āļāļāļ A Fistful of Dollars (1964) āđāļŦ้āļĄีāļāļģāļāļāļāļāļĨ้āļēāļĒāđāļāļāđāļāļĨāļāļี้
My Rifle, My Pony, and Me āđāļ่āļāļāļģāļĢ้āļāļāđāļāļĒ Paul Francis Webster āļัāļāļĢ้āļāļāđāļāļĒ Dean Martin āļัāļ Ricky Nelson āđāļĨāļ° Walter Brennan āļิāļ§āļāļēāļāļāļēāļĄ
Cindy Cindy āļāļāđāļāļĨāļāļื้āļāļ้āļēāļ American Folk Song āđāļĄ่āļĢู้āđāļāļĢāđāļ่āļ āđāļ่āļāļēāļāļāļēāļĢāļ์āļ§่āļēāļ่āļēāļāļ°āļĄāļēāļāļēāļ North Carolina āļ่āļ§āļāļ้āļāļāļĻāļ§āļĢāļĢāļĐ 20, āļāļัāļāđāļāļŦāļัāļāļัāļāļĢ้āļāļāđāļāļĒ Ricky Nelson āļāļĨāļāļĢัāļŠāļāļēāļĄāđāļāļĒ Walter Brennan, Dean Martin
āđāļāļĢ็āļ: My Rifle, My Pony, and Me āļิāļāļัāļāļัāļ 42 āļāļāļ The Top 100 Western Songs āļัāļāļัāļāļัāļāđāļāļĒ Western Writers of America
āļŦāļัāļāđāļāļ§ Classical Western āđāļāļāļุāļāđāļĢื่āļāļāđāļāļŠāļĄัāļĒāļั้āļ āļ้āļāļāļĄีāļāļāđāļāļĨāļāđāļāļ§ Country āđāļāļĢāļēāļ°āđ āļŠāļĢ้āļēāļāļāļĢāļĢāļĒāļēāļāļēāļĻāļ่āļāļāļāļĨāļēāļĒ āļัāļāļŠāļāļēāļĒāļิāļāļŦูāđāļāļāļี้āļāļĢāļ°āļāļāļāļ้āļ§āļĒāđāļŠāļĄāļ
āđāļĢื่āļāļāļĢāļēāļ§āļāļāļ Rio Bravo āļĄีāđāļāļāļ§āļēāļĄāļืāļāļāļēāļĢāļāļุāļāļุāļāļāļĢāļĢāļĄāļāļāļāđāļŦāļĨ่āļēāļู้āļิāļัāļāļĐ์āļŠัāļāļิāļĢāļēāļĐāļ์ āđāļāļัāļĻāļāļ°āļāļāļāļู้āļāļģāļัāļ Howard Hawks āđāļĨāļ° John Wayne āļี่āđāļĄ่āđāļ่āļāļēāļีāļāļี่āļ้āļāļāđāļŠāļ§āļāļŦāļēāļู้āļ่āļ§āļĒāļĢ่āļ§āļĄāđāļŠี่āļĒāļāļāļēāļĒ āđāļ่āļēāļี่āļĄีāļāļĒู่ āļĨูāļāļ้āļāļāļี้āđāļĄāļē āļāļēāļิāļāļēāļĢ āđāļĨāļ°āļĒัāļāđāļ็āļ āļ็āļŠāļēāļĄāļēāļĢāļāļ่āļāļŠู้āđāļāļēāļāļāļ°āļู้āļĢ้āļēāļĒāļŦāļĨāļēāļĒāļŠิāļāđāļ้āđāļĄ่āļĒāļēāļ
“If they’re really good I’ll take them. If not, I’ll just have to take care of them.”
āļāļĢāļ°āđāļĒāļāļี่āļāļēāļĒāļāļģāđāļ āļ John T. Chance āļูāļāļึ้āļāļี้ āļืāļāļ§่āļēāđāļ็āļāļāļēāļĢāļŠāļ°āļ้āļāļāļ่āļēāļิāļĒāļĄāļāļāļāļāļēāļ§āļāđāļĄāļĢิāļัāļāļั้āļāļāļĢāļ°āđāļāļĻ ‘āļāļ°āđāļĢāļี่āđāļŦ็āļāđāļ็āļāļāļĢāļ°āđāļĒāļāļ์āļ็āļāļ°āļāļģāļĄāļēāđāļ้ āļāļ°āđāļĢāļี่āđāļĄ่āļ็āļ่āļēāļāļŦัāļ§āļĄัāļāđāļĄ่āđāļĒāđāļŠ’ āļั้āļāļĒัāļāđāļ็āļāļāļēāļĢāļāļāļāđāļ้āđāļāļ§āļิāļāļāļāļāļ āļēāļāļĒāļāļāļĢ์āđāļĢื่āļāļ High Noon āļĄัāļāļĄีāļāļ§āļēāļĄāļāļģāđāļ็āļāļāļ°āđāļĢāļี่āļ้āļāļāļŠูāļāđāļŠีāļĒāđāļ§āļĨāļē āļัāļāļŠิ่āļāļĢัāļāļĢู้āļāļĒู่āđāļĨ้āļ§āļ§่āļēāđāļĄ่āļĄีāļ§ัāļāđāļ้āļĄāļē
āđāļ่āļ§่āļēāļัāļāļāļēāļĄāļāļĢāļ āđāļĢื่āļāļāļĢāļēāļ§āļāļāļ Rio Bravo āđāļĄ่āđāļ้āđāļี่āļĒāļ§āļ้āļāļāļāļāļāđāļāđāļāđāļิāļāļāļēāļĢāđāļĄืāļāļāđāļŠีāļĒāđāļ่āļēāđāļŦāļĢ่ (āļĒāļāđāļ§้āļāļัāļ§āļĨāļ°āļāļĢāļี่āđāļŦ็āļāļัāļāđāļĨāļĒāļ§่āļēāđāļ็āļāļāļ§āļāļāļุāļĢัāļāļĐ์āļิāļĒāļĄ), āļāļĨุ่āļĄāļāļĢāļ°āđāļāļāđāļ็āļāļู้āļĄีāļุāļāļĄāļāļēāļĢāļ์āđāļ่āļ§āđāļ่ āļุāļāļāļĢāļĢāļĄāļāļĢāļ°āļāļģāđāļāļĄั่āļāļāļ āļāļิāļัāļิāļāļēāļāļื่āļāļāļĢāļāļāļēāļĄāļŦāļ้āļēāļี่ āļāļāļ°āļี่āļĻัāļāļĢูāđāļ็āļāļู้āļĄีāļāļ§āļēāļĄāļั่āļ§āļĢ้āļēāļĒāļāļāļĢัāļāļั่āļ āđāļ้āđāļิāļāđāļ็āļāļāļģāļāļēāļāđāļāļĢ่āļāļĒāļēāļĒāļิāļāļิāļāļĨ āļŠāļāļāļāļāļ§āļēāļĄāļ้āļāļāļāļēāļĢāļŠ่āļ§āļāļāļ āđāļĄ่āļŠāļāļูāļāļิāļāļĻีāļĨāļāļĢāļĢāļĄ
āļี่āļĄัāļāđāļ็āļāđāļĢื่āļāļāļāļāļāļŠāļēāļĄัāļāļิāļāļŠāļģāļึāļāļั่āļ§āđāļāļāļāļāļĄāļุāļĐāļĒ์ āļāļēāļĢāļ่āļāļŠู้āļĢāļ°āļŦāļ§่āļēāļ āļāļ§āļēāļĄāļีvsāļāļ§āļēāļĄāļั่āļ§ āļāļĢāļĢāļĄāļ°vsāļāļāļĢāļĢāļĄ āļŦāļēāđāļ้āđāļี่āļĒāļ§āļ้āļāļāļāļēāļĢāļัāļāđāļ่āļāļāļĢāļĢāļāļāļ§āļāļ้āļēāļĒāļāļ§āļēāđāļ่āļāļĢāļ°āļāļēāļĢāđāļ āļĄัāļāļืāļāļāļēāļĢāļิāļāđāļ้āļēāđāļāđāļāđāļāļāļāļāļāđāļŦāļĨ่āļēāļู้āļŠāļĢ้āļēāļāļ§่āļē āļāļāļีāļ้āļāļāļĄีāļัāļĻāļāļ°āļāļēāļĢāđāļĄืāļāļāļāļĒู่āļั่āļāļ้āļēāļĒāđāļ่āļēāļั้āļ āļāļāļ°āļี่āļāļāļั่āļ§āļĄัāļāļ้āļāļāļāļĒู่āļั้āļ§āļāļĢāļāļ้āļēāļĄāļั่āļāļāļ§āļēāđāļŠāļĄāļ āļั้āļāđāļี่āđāļāļāļ§āļēāļĄāđāļ็āļāļāļĢิāļ āļāļāļีāļ็āļĄีāđāļ้āļั้āļāļั่āļāļāļēāļĢāđāļĄืāļāļāļ้āļēāļĒāļāļ§āļē āļāļāļั่āļ§āļ็āđāļ่āļāļัāļ
āđāļĢื่āļāļāļĢāļēāļ§āļāļāļāļŦāļัāļāđāļ้āļŠāļ°āļ้āļāļāļāļ§āļēāļĄāļāļ°āļāļāļāļ āđāļĒ่āļāļŦāļĒิ่āļāļāļāļāļŦāļāļāļāļ§āļāļี āđāļŦ็āļāđāļ่āļัāļ§āļŦัāļ§āļื้āļāļĢั้āļāļāļāļāļั้āļāļู้āļāļģāļัāļ Hawks āđāļĨāļ° Wayne āļāļ§āļāđāļāļēāļืāļāļŦāļēāļāļั่āļ Republican āļāļุāļĢัāļāļĐ์āļิāļĒāļĄ āļĄāļāļāđāļāļĢāļ็āļāļēāļĄāļี่āđāļĄ่āđāļ้āđāļ้āļēāļāļ§āļāļāļĒู่āļั่āļāļāļāđāļāļ āļ่āļēāļāļืāļāļāļāđāļĨāļ§āļั่āļ§āļ้āļē āļี่āļāļ°āļŦāļĢืāļ ‘āļāđāļĄāļĢิāļัāļāļāļ’ (āđāļāļĄุāļĄāļāļĨัāļāļัāļ Democrat āļ็āļĄัāļāļĄāļāļ Republican āđāļāļāļี้āļāļ°āļāļĢัāļ)
āļŠิ่āļāļี่āļāļģāđāļŦ้āļāļĄāļāļĢāļ°āļัāļāđāļāļĒิ่āļāļัāļ High Noon āļืāļāļāļēāļĢāļāļāļāļ้āļāļŦāļēāļāļ§āļēāļĄāļ่āļ§āļĒāđāļŦāļĨืāļāļāļāļāļāļēāļĒāļāļģāđāļ āļ āļāļĒāļēāļĒāļēāļĄāļāļģāļุāļāļ§ิāļีāļāļēāļ āđāļิāļāļĢัāļāļุāļāđāļāļāļēāļŠ āđāļāļĢāļēāļ°āļĢāļ°āļŦāļ§่āļēāļāļั้āļāļāļ°āđāļĢāđāļ็āđāļิāļāļึ้āļāđāļ้ āļāļāļ°āļี่ Rio Bravo āļāļģāļāļēāļĢāļิāļāļั้āļāļุāļāļŠิ่āļ āđāļāļĢāđāļŠāļāļāļāļ§āļēāļĄāļāļĢāļ°āļŠāļāļ์āļāļĒāļēāļāļ่āļ§āļĒāđāļŦāļĨืāļāļāļĨัāļāļāļิāđāļŠāļāļāļĒ่āļēāļāđāļĢ้āđāļĒื่āļāđāļĒ āļ้āļģāļĢ้āļēāļĒāļĄāļāļāđāļ็āļāļ āļēāļĢāļ°āđāļŠีāļĒāļีāļ
āđāļ่āđāļāļ§āļิāļāļāļāļ Rio Bravo āļ็āđāļĄ่āļืāļāļ§่āļēāđāļ็āļāļŠิ่āļāļิāļāļāļ°āđāļĢāļāļ°āļāļĢัāļ āđāļāļĢāļēāļ°āļัāļāļāļāļี่āļĄีāļāļ§āļēāļĄāļั้āļāđāļāđāļ่āđāļĢ้āļึ่āļāļีāļĄืāļ āđāļ้āļēāļĢ่āļ§āļĄāļāļĨุ่āļĄāđāļāļĢัāļāđāļ่āļāļ°āļŠāļĢ้āļēāļāļ āļēāļĢāļ°āđāļŠีāļĒāđāļ§āļĨāļēāđāļŦ้āļĄāļēāļāļāļ§่āļēāļāļģāļุāļāļāļĢāļ°āđāļĒāļāļ์ āļĄัāļāļāļēāļāđāļ็āļāđāļĢื่āļāļāđāļĨ้āļāļ้āļģāđāļāđāļĄāļāļĢี āđāļ่āļืāļāļāļ§āļēāļĄāļāļĢิāļāļี่āļŦāļĨีāļāđāļĨี่āļĒāļāđāļĄ่āđāļ้
āđāļāļĢāļēāļ°āđāļŦāļุāļี้ Democrat āļัāļ Republican āļŠāļāļāļั้āļ§āļั่āļāļ่āļēāļĒāļึāļāļĄัāļāļĄีāļŠāļĄāļēāļิāļāļāļĢิāļĄāļēāļāđāļāļĨ้āđāļีāļĒāļāļāļāđāļัāļ āđāļāļĢāļēāļ°āļึāļāđāļāļัāļĻāļāļ°āļāļāļāļāļĄāļāļ°āļāļāļāļ§่āļē High Noon āļูāļีāļāļ§่āļē āđāļ่āļีāļāļāļĢึ่āļāļ่āļāļāđāļĨāļāļĒ่āļāļĄāļĄāļāļāļ§่āļēāļŦāļัāļāđāļĢื่āļāļāļี้āđāļ่āļŦ์āļāļ§่āļēāđāļ็āļāđāļŦāļāđ
āļĄัāļāļāļāļĄีāļŠ่āļ§āļāļāļĢิāļāđāļāļ°āđāļŦāļĨāļ° āļŠāļģāļŦāļĢัāļāļāļāļี่āļื่āļāļāļāļāļŦāļĨāļāđāļŦāļĨ High Noon āļĄัāļāļāļ°āļāļิāđāļŠāļāļ่āļ Rio Bravo āđāļĨāļ°āđāļāļāļēāļāļāļĢāļāļัāļāļ้āļēāļĄāđāļāļĒāđāļāļāļēāļ°āļāļēāļ§āļāđāļĄāļĢิāļัāļ āļŠ่āļ§āļāđāļŦāļ่āļāļāļāļĨั่āļāđāļāļĨ้āļŦāļัāļāđāļĢื่āļāļāļี้ āđāļĨāļ°āļāļิāđāļŠāļāļุāļāļŠิ่āļāļี่āđāļĄ่āđāļ้āļēāļāļ§āļāđāļีāļĒāļ§āļัāļāļāļāđāļāļ
āđāļĄ่āļĄีāļĢāļēāļĒāļāļēāļāļุāļāļŠāļĢ้āļēāļāđāļ่āļāļāđāļĄ่āļ่āļēāđāļĒāļāļ°āđāļ่āļēāđāļŦāļĢ่ āļāļēāļĒāđāļāļāđāļĄāļĢิāļāļēāļāļģāđāļิāļāđāļ้ $5.2 āļĨ้āļēāļāđāļŦāļĢีāļĒāļ āļĢāļ§āļĄāļั่āļ§āđāļĨāļ 12.5 āļĨ้āļēāļāđāļŦāļĢีāļĒāļ āļāļģāđāļĢāđāļ้āļāđ
āļŦāļĨัāļāļāļ§āļēāļĄāļŠāļģāđāļĢ็āļāļāļāļ Rio Bravo āļู้āļāļģāļัāļ Hawks āļāļĒāļēāļĒāļēāļĄāļี่āļāļ°āđāļĨีāļĒāļāđāļāļāļŠูāļāļĢāļŠāļģāđāļĢ็āļāļี้ āļŠāļĢ้āļēāļāļึ่āļāđāļ āļēāļāļ่āļ/Remake āļāļĢัāļāđāļāļĨี่āļĒāļāđāļĢื่āļāļāļĢāļēāļ§āļัāļāļื่āļāļŦāļัāļāđāļ็āļ El Dorado (1966) āļัāļ Rio Lobo (1970) āļāļģāđāļŠāļāļāđāļāļĒ John Wayne āļั้āļāļŠāļāļāđāļĢื่āļāļ āđāļĄ้āļāļ°āļāļāļāļģāđāļิāļāđāļ้āļ้āļēāļ āđāļ่āļุāļāļ āļēāļāļ็āļĄิāļāļēāļāđāļีāļĒāļāđāļ่āļēāļ้āļāļāļัāļāđāļ้
āļ้āļēāļัāļāļāļ§āļēāļĄāđāļ็āļ ‘āļāđāļĄāļĢิāļัāļ’ āļāļāļāļāļāļāđāļ āļāļāļ์āļāļĢāļ°āļāļāļāļื่āļāđāļāļāļāļŦāļัāļāļāļĄāļื่āļāļāļāļāļุāļāļŠิ่āļāļāļĒ่āļēāļāđāļĨāļĒāļāļ° āļĄีāļāļ§āļēāļĄāļĨāļāļัāļ§āđāļŦāļĨāļĨื่āļāļ่āļāđāļื่āļāļāđāļŦāļĄืāļāļāļŠāļēāļĒāļĨāļĄ/āļŠāļēāļĒāļ้āļģāđāļŦāļĨ āļĢāļ°āļัāļāļŠāļĄāļูāļĢāļ์āđāļāļāđāļāļĒāđāļ้ āđāļ่āđāļāļĢāļēāļ°āđāļāļ§āļāļิāļัāļĻāļāļāļิāļี่āļัāļāļĢāļēāļāļĨึāļāļāļĒู่āđāļāļุāļāļāļāļ์āļāļĢāļ°āļāļāļ āđāļĄ่āļŠāļēāļĄāļēāļĢāļāđāļĒāļāļāļāļāļāļēāļāđāļ้āļāļĢิāļāđ āļŠุāļāļ้āļēāļĒāđāļĨāļĒāļŠ่āļēāļĒāļŦัāļ§ āđāļ็āļ āļāļĢāļĄāļēāļāđāļāļāļāļŠāļĄāļāļ§āļĢāļāļāļ°āļĢัāļāļāļĄ
āđāļāļ°āļāļģāļัāļāļāļāļŦāļัāļ Classical Western āļี่āļื่āļāļāļāļāļŠāđāļāļĨ์āļāļāļāļู้āļāļģāļัāļ Howard Hawks, āļŦัāļāđāļŦāļĨี่āļĒāļĄāđāļืāļāļāļāļĄāļĢāļ°āļŦāļ§่āļēāļāļāļģāļĢāļ§āļāļัāļāļู้āļĢ้āļēāļĒ, āđāļāļāđāļัāļāđāļŠāļāļ John Wayne, Dean Martin, Ricky Nelson āđāļĄ่āļāļ§āļĢāļāļĨāļēāļ
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