Dan Evans, a small time farmer, is hired to escort Ben Wade, a dangerous outlaw, to Yuma. As Evans and Wade wait for the 3:10 train to Yuma, Wade's gang is racing to free him.
Glenn Ford Van Heflin Felicia Farr Leora Dana Henry Jones Richard Jaeckel Robert Emhardt Sheridan Comerate George Mitchell Robert Ellenstein Ford Rainey Dorothy Adams Jimmie Booth John Cason Richard Devon Joe Haworth Robert "Buzz" Henry Danny Borzage Frank Hagney Woody Chambliss Barry Curtis Jerry Hartleben Bill Hale Tex Holden Boyd Stockman Guy Teague Guy Wilkerson William Dyer Jr. Ann Kunde Show All…
John Cason Jack N. Young Boyd Stockman Frank Hagney Robert "Buzz" Henry Brad Harris Robert Bradshaw Erwin Neal
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USANR
UKPG
Germany12
JapanG
ItalyT
France
Austria12
Finland
Netherlands6
Brazile 12
PortugalM/12
Hungary12
Netherlands6
Austria
Brazil
Finland
France
Germany
Hungary
Italy
Japan
Netherlands
Portugal
UK
USA
has a basic morality play via lean suspense concept that puts it in a similar wheelhouse of High Noon but also has some deceptively complicated character work and weaves existential concerns about marriage and financial desperation (and even an eventual literal spiritual cleansing) underneath the moral codes and graceful genre surface provided by leonard. i'm a fairly simple man, i see glenn ford smirking and hear a western theme song describing what's happening on the screen and i'm satisfied.
I mean, I definitely prefer the Bale/Crowe/Mangold remake, especially given its vastly improved ending, but that titular “The 3:10 to Yuma” opening and closing song is pretty tough to beat. One of the great classical sentimental American Westerns nonetheless and more thrilling than you would expect. Glenn Ford sure was one cool customer.
Felt like I could watch Evans and Wade converse for hours, so I was surprised when the final moments felt so comatose. Not that it’s composed blandly (not sure if any Western from this era is) more so it chooses not to be exciting? Still, I find its exploration of that sort of taboo melancholy we feel when we cant fulfill societal and familial roles far more fascinating. Also I love the way horses sound when they go really fast.
one of the finest hours of the western, so patiently observed and laconic that it looks ahead to clint eastwood and john carpenter. delmer daves uses his crane shots to flip the genre from horizontal to vertical, a man's moral self-respect growing in accordance with his investment in society, testing his borders in conflict with the will of others. all throughout this film we are in a drought, a dry land where the cattle are starved and the cracks on men's faces hold fast against the desert wind, waiting for the rain, waiting for the titular train, waiting for a resolution and an absolution that will pass judgement on human affairs as being worthwhile or futile -- inside this film's…
"You have to do something, you can't just stand by and watch."
I'll probably turn into a caricature of myself if I say one more time how much I love stories about folks on journeys to accepting ethical agency, but that's what I love and that's what we have here. 3:10 to Yuma (1957 original recipe) is a case study in purely presenting the story of a good man confronted with the opportunity to finally prove his worth. Dan Evans (Ven Heflin), a quaint and well mannered farmer in need of some quick cash to alleviate the pressures of a region-wide drought, accepts a job escorting convicted murderer and outlaw gang leader Ben Wade to the 3:10 train to Yuma.…
Ben Wade: I don't mind a skinny girl - just so she has blue eyes to make up for it. You got blue eyes?
Emmy: Brown.
Ben Wade: That's all right. They don't have to be blue.
i revere how the cross-plotting of the opening passages both define and destroy the american archetypes that the film exists to dissect and compound. Glenn Ford, Van Heflin and Felicia Farr are all brilliant, and the film is at its best as an austere morality play... ends on the perfect grace note (botched by the remake), but much of it is extraneous, a rather long 90 minutes. and the great Delmer Daves, in refusing to glorify the action, makes it feel somewhat weightless.
a magnificent specimen of a western. sharpened, trenchant and witty dialogues, a brilliant dramaturgy, snappy character-painting. the hard-boiled scenario of Rio Bravo, the playful act with the time and timing of High Noon coming to mind. fantastic craftsmanship.
"I like women with blue eyes." - "I have brown eyes!" - "That's okay with me..."
Ben Wade is a villain so fearsome that his name compels men to drop their guns and turn their backs on what is right and good; so untouchable that he doesn't bother to wear a mask, staging robberies with his face there for all to see, confident none would dare try to stop him; so audacious he reports his own robberies, so as not to impose extended inconvenience upon his victims.
Wade's greatest weapon, however, is his charisma. He uses it to draw men to him, but he also uses it to create space around himself: to push people off balance; to make them think when they should act; to nudge adversaries into their memories (into their dreams) rather than…
I haven’t been a good Western fan lately. Maybe it was just too hot. But I have to say that 3:10 to Yuma was the perfect film to end the drought. It’s an expertly directed and artful Western with innovative yet elegant cinematography, deeply atmospheric from the moment we hear the beautiful opening song — playing over what are possibly the most gorgeous opening credits I’ve ever seen. Everything looks very pretty, and like it was made with meticulous care. The pacing is gentle; it’s a very focused, deliberate kind of slowness that helps build tension and suspense.
Now, Van Heflin. The man who gets better with every movie that I watch. He has a quality that is quite rare…
Late on 3:10 to Yuma, Van Heflin orders Glenn Ford to tell his men he will be executed if he hears another shot, so Ford goes to the window and tells them they just have another one, and the movie's simple power is digested in the way that knowledge gets passed around. It is a movie of stark quality; the town feels beat down, characters are motivated by pure desperation, and there are lots of echoes of High Noon and Shane, but they are filtered through Elmore Leonard's spare writing. Even the bad guy seems to have very little use for a gun, although he sure likes to talk. Speaking of Leonard, there are a lot more Scott/Boone's The Tall…
This past Friday (March 31st) would've been my father's 73rd birthday. This marks the first time that his b-day has come and gone without him here to celebrate it with and…it's impossible to articulate how much that hurts.
A while ago I decided to start a new tradition for his birthday: I'm going to watch a western (movie, show, or both) every March 31st to commune with his memory. While there's been a handful of more modern western flicks that I've enjoyed, generally speaking, westerns don't remotely interest me. Especially "classic" westerns. They just ain't for me. But he fucking loved allllllllll of those old ass western flicks/shows, so here we are.
Ngl, this movie did little for me. It was ok. I liked it. However, experiencing it while reminiscing about my pops…that was special. ✨
