Customer Reviews

Lonely are the Brave (Universal Backlot Series)

5 star:		(77)
4 star:		(9)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

It is difficult to imagine a film like "Lonely are the Brave" being released today. Everything about this near-forgotten 1962 semi-classic seems unconventional. A bittersweet ending, a flawed hero/protagonist, quirky law enforcement officials, character-establishing scenes which move slowly though perceptibly, underlying brutality (during a vicious barroom brawl) and a thematic mourning for a time long since passed. And of course the film is in black and white.

Like great poetry, the film "Lonely are the Brave" must be savored several times, it's taste acquired, it's ideas earned through thought and contemplation. Quite simply, the film is one of the finest westerns ever made.

A simple tale, though with crisp dialogue and underlying substance, "Lonely are the Brave" tells the story of the modern-day loner cowboy Jack Burns, brilliantly played by Kirk Douglas. Upon his horse, Burns rides into a dusty New Mexico town to visit old friends, dodging speeding cars on a highway. He soon discovers his best friend, a childhood chum he used to carouse with, has been jailed for transporting illegal immigrants from Mexico. In the blink of an eye, Douglas has himself arrested in an attempt to help his buddy break out of jail.

But his friend refuses, instead choosing the life of a family man, wishing to return to his wife and child as soon as possible. Douglas promptly breaks out of jail, deciding to cross the mountains into Mexico and wait for "things to blow over." A chase ensues, with a relaxed sheriff (superbly played by a young Walter Matthau) trying to cut off "the cowboy." The chase contrasts the loner (Douglas) on horseback in the mountains versus the modern-day technology of radios, helicopters, the U.S. military and jeeps.

But it is the small scenes in "Lonely are the Brave" that truly give the film its depth and status. A quiet moment as Douglas pauses at the bedroom door of his friend's son, perhaps imagining what his life could have been under different circumstances; a firm hug and kiss with his friend's wife (Gena Rowlands in one of her earliest roles) insinuating past love; a conversation with a mountain squirrel while waiting for a helicopter to fly past; a humorous soliloquy while washing his hands discussing the variety of signs hanging from a barbed wire fence; and other telling, comfortable scenes creating a character of fierce independence trapped within a shrinking land of convention.

"Lonely are the Brave" harkens back to a time of literate drama and well-written dialogue born of the theater and literature. It is also a film that, like its protagonist, slowly moves along the trail until its inevitable, heartbreaking conclusion. But that's the way it should be. Kirk Douglas' character wouldn't have it any other way.

"Lonely are the Brave" is an unforgettable film. If you have not seen this gem before, you are in for a western treat.

I grew up in N.M., where the story takes place (Albuquerque), and my dad took me to the Route 66 Old Town Bridge where we watched the filming of Kirk crossing the Rio Grande on horseback. At that time, it was just neat to see a movie star.
I didn't truly appreciate the film until I grew up. Now, I see in it an individual very much like cowboys who were around in my childhood; fiercely independent, hard-drinking, hard-working men who, because of their disdain for fences, rules, and conformity, are themselves responsible for being alone. They are men who were born too late, who are old fashioned cowboys in a West where round-ups are now by helicoptor and ATR vehicles. A man on horseback, as a way of life, is rapidly fading away. You can see that sadness and loneliness in this film. That the hero in the film could actually believe that he could out-run modern police pursuit on horseback only adds poignancy; he is really trying to out-run modern times and loss of individuality. That is truly a lonely effort.
This film is wonderful; I agree with the reviewer who said this was kirk's best film, and his favorite. It is , for me, one of the best American films ever made. Discover this gem.

I saw this movie at a drive-in theatre with my mom and sister in late summer of 1962. It was the second bill for a feature that I have long forgotten. I was already a big Kirk Douglas fan, having seen him in 20,000 Leagues Under The Sea, Spartacus, and other big-budget projects. What impacted me most was not only the spartan effects of the effective black and white photogrphy, but how Douglas' charcter, Burns, could have escaped if he had chosen to abandon his horse. The early scenes of the horse getting skittish while trying to cross the highway and an early appearance of Carroll O'Connor driving his 18-wheeler are seemingly inconsequential at first, but set up the dramatic ending, highlighted by Walter Matthau's compassionate refusal to identify the subject of his pursuit. In this day and age of high-salaried actors, directors, and extensive computer-generated special effects, I have yet to see a movie that impacted me more than this one.

This is getting ridiculous. They constantly put out crap like Knight Rider, but can't get it together for a classic film like "Lonely Are The Brave". Kirk Douglas himself, called this his proudest acheivement and I'd hate to argue with that.

This movie has a great script, vivid characterizations and wonderful cinematography. Black and white was such a wonderful medium and when well done, evidenced more grit and realism than any technocolor film could impart.

I hate to beg, but PLEASE, PLEASE, PLEASE..... let's get this great film out on widescreen DVD!


7/7/09 UPDATE:

Kirk Douglas must be as pleased as I am that this wonderful film has finally gained it's place among the DVD Elite.

The screenplay, the score, the cinematography and yes, the acting all combine to create as compelling and riveting a slice of humanity as was ever presented on the silver screen.

There are a couple of nice extras too; one dealing with the hauntingly beautiful musical score by Jerry Goldsmith and the other a 19 minute tribute to the film and it's principals. Even at 80 plus and slowed by the after effects of a stroke, one can still see the sparkle in Kirk's eye as he reminisces about this film and it's impact on him.

This movie is definitely in my top 100 all time and if you give it a chance, maybe it will impress you as well.

Thanks Universal for finally bringing this great film to DVD!

I decided to watch this movie after reading the book "The Brave Cowboy." I had heard that it was a good adaptation, but what I was not prepared for was the emotionally-charged way in which Kirk Douglas acted the part of Jack Burns. Douglas has repeatedly called this his favorite movie, and in fact it was one which the studio was not going to produce, but which a clause in Douglas's contract allowed him to make. In watching the film, you can definitely see Douglas's love for the part.

Jack Burns is a man from a dying era. Caught in a world of highways, steel-barred prisons, and barbed-wire fences, Burns is unable to adapt himself to modern life, and pays for his failure to compromise his cowboy ideals. Burns is a true cowboy--tough, uncompromising, and good-hearted--but this movie shows that there isn't always a place for such people in today's society. In the ultimate showdown between horse and horsepower, there is little question of which will win.

This movie is splendidly done. The directing and acting is great, and the scenery is absolutely breathtaking. Seeing all that rugged terrain really brings Abbey's novel to life. This is not only one of the few movies that remains true to the book on which it is based, it is also one of the great underrated classics in film.

One of the best movies I've ever seen. Other reviewers who know better than I have written that it presents the independence of the cowboy very well. It also shows the independence of the man--Kirk Douglas--who had enough faith in the story to bring it to the screen, and to hire a blacklisted screenwriter--Dalton Trumbo--to write the script during or just after the McCarthy era.
I've read Douglas bought the rights to the story (The Brave Cowboy by Ed Abbey) and personally pushed the project the rest of the way. Douglas' courage is at least equal to his acting talent.
Abbey went on to write other stories about the West and independence, and our trashing of the natural world, particularly the desert. He has written that Trumbo wrote a better screenplay than he could ever have written, and he's a damn good writer. I don't think I've ever heard another author say that about a screenplay based on his story or novel.

This is one of the finest 60's westerns dealing with man's struggle for independence, overshadowed by "Hud," though far more entertaining a film. An incredible lineup, a cast of stars and future stars if you watch closely:Bill Bixby(helo pilot), Walter Matthau, George Kennedy, Gena Rowlands and Bill Rausch. A year later you would know Rausch as the one-armed man Dr. Richard Kimble chased for 4 seasons on "The Fugitive." Adapted from,"Brave Cowboy," a simple story about a drifter-cowboy who didn't like fences, this is more fleshed out, with Kirk Douglas trying to talk sense into his friend, by breaking in jail with him, a plausible sub-plot to explain his visit. Douglas has some touching scenes with Gena Rowlands where, at times, he struggles with his conscience and allegiance to his friend. Nevertheless, Douglas escapes and the entire locals pursue. Douglas and his valiant horse outwit all armed forces aganst him as he ascends the mountains to freedom, leading to a terrifying, heart-wrenching climax on a rain-swept highway. The on-lccation scenes are sparingly shot, symbolically at times, never slowing the suspense. There are poetic moments and moments of stark violence, handled with deft assurance. One of those black and white movies that explores the grays as well, you sit in your seat it a daze. Then in a few moments you realize you were experiencing screen "realism." You just want to jump into the screen and run off with Douglas. A rarity. The classic.

In today's movie world of slick technology and violent themes, it is refreshing to watch a movie with heart-felt emotion. Edward Abbey's novel of a cowboy lost in a modern world comes to life with Kirk Douglas playing one of his best roles (he has often said this was his favorite movie). The film goes far beyond the common western to convey a melancholy sadness of the passing of the freedom and spirit that was once the west. Lonely are the Brave reveals that not only is this spirit gone from the west, but also from the hearts of its modern day inhabitants.

If you like being dazzled by mindless, techno-junk movies don't bother with this little gem.

Filmed in black and white in 1962 (When the West still had vague similarities to the past), it has a great supporting cast with Walter Mattthau, George Kennedy, and Gena Rowlands.

One of Kirk Douglas' best roles, and a moving film in all respects, well-acted by the superb cast. Contrasts the remnants of the "old west" personified by Douglas, with the "new" west of social activism, progress and consumer products, property--and most symbolically, highways that cut up and limit the open range. When the Old resists the New, the New must deal with the Old on its own terms: humor and respect, but ultimately tragedy, are the results. This movie deserves to be released on DVD as soon as possible!

On many occasions over the years I've been asked to list my top 5 films of all time - and only one film has been a constant on that list - 'Lonely are the brave'.
There are those who've grown up in a multi-coloured media world who fail to appreciate the true beauty of great black-and-white cinimatography (TV schedulers amongst them!). This is, quite simply, one of the most stunning examples ever of the potential of monochrome to add drama to the very basic passions of love, lust, and the longing for freedom.
Kirk Douglas gives his finest performance as the anachronistic throwback - the feckless cowboy in an industrial world, the lover destined never to be the husband, the small boy at the heart of every grown man.
Gina Rowlands embodies a sadly lost, but universal, movie truth -that it's possible for a genuinely talented actress to be unbearably sexy, desirable, seductive and beautiful while remaining fully clothed.
Walther Matthau is brilliant. Cast in his early films as a 'heavy', he became famous for outstanding comic performances.
In this film he's in transition. On the 'heavy' side, he embodies the power of society against the outlaw - helicopters, jeeps, guns, versus the man on the horse - and, on the 'lighter' side, he displays his developing, gum-chewing exasperation with the incapacity of the modern world to accomodate the rebel.
He also does the classic display of "It sure is hot in here" acting, unmatched until Rod Steiger/Sidney Poitier sweated out 'In the heat of the night'.
Dalton Trumbo's screenplay is his masterpiece. Movies are pictures first, words second. Never has such economy at the typewriter better underpinned the work of the camera.
A fine film, that still makes me cry.