Unless you count Jackie Chan's character in Shanghai Noon, this is my first John Wayne film. And it's not just John Wayne that's missing from my watch history - somehow the entire Western genre has been quite neglected (outside of a handful of modern Westerns). If this movie is any indication, I've been missing out on some great films. I'll admit, the opening threw me for a bit of a loop, with no dialogue or context to really appreciate the inciting incident. But the filmmakers knew what they were doing, as the process of learning who these characters are the implications of the opening scene makes things all the more enjoyable. My lack of western experience is probably an asset, because I'm told that there are plenty of recurring plot elements, but for me, the setup here was fresh and the execution was excellent. Yes, there's some contrivances and soft spots here and there, but the movie does a good job of sweeping you up in the story and maintaining the suspension of disbelief. On top of the compelling story, you've got some great characters and, most importantly, fantastic dialogue. Plenty of impactful lines and a surprising amount of wit/humor that is still effective even 60+ years later. Even the action, which is where old films most often show their age and lose modern audiences, was not a deal breaker - primarily because the film doesn't lean heavily on it.

The good outweighs the bad in Hawks macho movie.

Filmed by Howard Hawks as a response to what he saw as none macho cinema in Gary Cooper's acclaimed High Noon, Rio Bravo has moments of brilliance that are sadly coupled with failings that are not Hawksian peccadilloes. The macho plot is simple but wholly effective as our heavily out numbered heroes (John Wayne, Dean Martin, Walter Brennan & Ricky Nelson) defend a jail house against a marauding mob trying to release an incarcerated friend. This alone sounds grand but the truth is, is that it takes the film nigh on close to 100 minutes to get to the adrenalin rush of the siege and even allowing for fine character development, the film is ponderous and even at times dangerously close to being self indulgent.

The casting of Ricky Nelson was (as is widely regarded now) one of the worst of its kind in the history of cinema, he was there purely as a marketing ploy to garner the teen audience who were bopping to his pop tunes way back then. In fairness to Hawks, though, he saw straight away that this was out of Nelson's league and promptly (and cutely) gave him few lines of note to speak of. Also a big negative in the film is Angie Dickinson as the Female interest, she is raw and fresh out of water, and it shows, just like sushi on your plate.

The bonuses with the film however keep the film talked about for ever more, Wayne is magnetic and believable, whilst Martin comes into his own as the drunk trying to do right, a superlative performance from him and one would think that is really down to Hawks' direction. The action sequences are of a high standard, while the tight intimate feel of the town is precious - and who can resist an ending that makes you want to go fire yer guns in the air?

A very good film, but not a Western masterpiece by a long shot. 7/10