Film: Rio Bravo

Pat Wheeler: A game-legged old man and a drunk. That's all you got?
John T. Chance: [shrugs] That's...what I got.

In 1952, Fred Zinneman directed High Noon, an excellent Western that snagged a number of Oscars — but numerous awards didn't keep Western legends John Wayne and Howard Hawks from thinking the idea of a Sheriff running around town and begging people to help him face a couple of outlaws looked un-American unprofessional. (As Howard Hawks explained to the French magazine Cahiers du Cinéma, he didn't like the idea, especially since High Noon's sheriff eventually proved a little luck — and some help from his bride — made him perfectly capable of doing his job alone.) So in 1959, the duo made Rio Bravo

Hawks and his collaborators switched the story of High Noon to a professional's point of view: if people offered John Wayne their help, he would reply, "If they're really good, I'll take them. If not, they'll only cause me more trouble." Hawks' idea saw Wayne's sheriff take the opposite route of High Noon's sheriff in every critical decision and position from High Noon while remaining successful in his task.

John T. Chance works as the sheriff of a small Texas town, but he's not as fast as he used to be with a six shooter (he prefers the trademark John Wayne Winchester '92 instead) — and to add to his problems, the brother of the local rancher who pretty much runs the town sits in his jail. The rancher sends plenty of hired guns to get his brother out of jail, and the only people Chance can count on for help include his old, crippled deputy, Stumpy and a washed-up drunk called Dude (or Borrachón, Spanish for ''drunkard", by the Mexicans). Along the way, Chance also receives help from a youngster named Colorado Ryan — but will his help be enough to help the other three men deal with the hired guns until the Marshal arrives to handle the rancher's brother?

On record as being one of the all-time favorite films of Quentin Tarantinonote .

John Carpenter remade this film in 1976 as Assault on Precinct 13 (1976) by placing the story into a contemporary setting. (Precinct 13 ended up being remade in 2005.)

Rio Bravo features examples of the following tropes:

  • Action Film, Quiet Drama Scene: Inverted. This is a lenghty (nearly two and a half hours long) film that's mostly dialogue with only a few action scenes. So when the action does come, it has all shocking suddeness of a slap in the face.
    • Even so, there's still one Quiet Drama Scene that stands out from all the others in most viewwers' memories: the moment in the jailhouse where Dude, Colorado, and Stumpy are relaxing, singing songs to pass the time, illustrating the camaraderie that's grown up between them.
  • Affably Evil: Nathan Burdette. For his one extended scene in the movie, he's polite and courteous the entire time. He even compliments Dude on his newfound sobriety and confidence ("Every man should have a taste of power before he's through."). Doesn't stop him from trying to bust his brother out of jail and plotting to kill Sherrif Chance and anyone who so much as offers to help Chance.
  • Belligerent Sexual Tension / Best Her to Bed Her: Played with. Chance figures out that Feathers was one of a man-woman team of big-time card cheats, and as such accuses her of assisting in just such a con that he's just uncovered. She acts turned on by his accusation, and smilingly taunts him for it—by suggesting he frisk her.
  • Bookends: The film opens and closes with a shot of the same spot — the opening shows sunrise, and the closing shows sunset.
  • The Cast Show Off: Dean Martin and Ricky Nelson singing the memorable song "My rifle, my pony and me", a rearrangement of Dimitri Tiomkin's own theme from Red River
  • Character Development: Dude goes from a pathetic drunk to a competant deputy, nearly backslides a few times, before having his dignity restored.
  • Chekhov's Wagonload of Dynamite
  • Come to Gawk: At the beginning of the film Dude is reduced to begging to pay for his drinking. Then comes the painful moment when one of the saloon's patrons throws a coin for him - into a half-full spittoon! Luckily Chance intervenes before Dude actually picks it out. And of course there will be payback later.
  • Deadpan Snarker: Chance is a big-time Snark Knight. But then, with John Wayne, it's fairly inevitable.
  • Drowning My Sorrows: Dude at the start of the film.
  • Even Evil Has Loved Ones: The Burdettes, of course. Also, late in the film (after Chance and his deputies have killed a few Mooks) when Chance and Dude get captured, one Mook comments, "Some of those men you killed happened to be friends of mine."
  • Even Evil Has Standards: Everyone in the bar (from the patrons to the band themselves) Nathan and his men are using to spy on the jail react badly when Nathan insists the band play the "Deguello".
  • Five-Man Band:
  • Grumpy Old Man: Stumpy.
  • Like an Old Married Couple: Carlos and his wife; Chance and Feathers at times.
  • Moment Killer: Just when Chance and Feathers are about to kiss at one point, Dude peeks out of the bathroom and asks for a towel. To his credit, he realizes what he did.
  • Ms. Fanservice: Feathers has a real penchant for wearing tight clothes and constantly striking sexy poses, particularly for Chance's benefit.
  • Not What It Looks Like: Carlos rants to Chance about how, in his desperate attempt to carry out Chance's instructions to make sure Feathers gets on the stagecoach, he ended up trying to carry her—just when his wife showed up. The end result was poor Carlos getting a black eye.
  • Only Known by Their Nickname: We never learn the real names of Dude, Feathers, or Stumpy. We do learn that Colorado's last name is Ryan. For all we know, Colorado could even be his real first name.
  • The Power of Friendship: Becomes especially evident as Chance keeps rolling cigarettes for Dude. This evolved during shooting, when Dean Martin asked how come in some scenes Dude was supposed to be fumble-fingered, yet in others he is shown rolling cigarettes.
  • Rain of Blood: Actually just a few drops dripping into a glass of liquor. But it shows where a wounded gunman is hiding.
  • Rated M for Manly: One of the things Quentin Tarantino likes the most about this movie is how it uses this trope.
    • Testosterone Poisoning: Explicitly averted. Chance notes that he admires Colorado (and by implication the rest of his crew) precisely because he acts as if he's got nothing to "prove". (Chance himself averts it too, of course—with John Wayne, it's fairly inevitable.)
  • Screw the Rules, I Have Money!: The Burdettes.
  • Sexy Discretion Shot: Feathers invites Chance to stay in her room as the Big Bad's mooks won't think to look there. She claims that she can sleep in the rocking chair. Later Chance is shown picking her up out of the chair where she has been standing watch and carrying her up the stairs to the rooms. The scene ends and we pick up the next morning with Chance walking down the street and giving a cheery hello to Dude. Later Chance and Feathers have a conversation where both say they are not sorry about what happened the night before.
  • The Siege
  • Source Music: While High Noon uses "Do Not Forsake Me" heavily during voice-overs, here the characters themselves provide the "significant" music. Burdette asks the saloon band to play "Deguello" non-stop to unnerve the holed-up lawmen, and both Colorado and Dude (played by professional singers) sing to pass the time.
    • Dimitri Tiomkin scored both High Noon and Rio Bravo, for the record.
  • Spicy Latina: Carlos's wife.
  • Take That: Rio Bravo serves as one to High Noon. Specifically the scene where Chance explains to Wheeler exactly why he doesn't go out asking any civilians for help: numbers or no, if they aren't professionals, they're more apt to end up as just more targets.
    • In a more subtle jab, Chance's key crew consists of a drunkard and an old cripple—basically, two fellows who have nothing to lose and are motivated by their loyalty to him. Guess who Gary Cooper turns away in High Noon....
  • To Win Without Fighting: Kind of. Chance is impressed with young Colorado because the latter is so confident in his ability that he does not have to demonstrate it to him.
  • Young Gun: Colorado Ryan