The Lusty Men

Nicholas Ray had always been fascinated by the relationship between two guys,the older one and the younger one.That was the story of "rebel without a cause" and "run for cover".Even in "Johnny Guitar",there 's a subplot displaying a relationship of the same kind between Johnny(and Emma) and Turkey.

This is a cyclic movie ,beginning with a rodeo ,and ending the same way.A recurrent subject is the childhood nostalgia:Mitchum searching for his old rusty money-box in his parents house echoes Dean with his toy in the gutter in the opening scene of "rebel".Robert Mitchum , the stand-out of the film,portrays a cowboy down on his luck who meets another cowboy(Kennedy) and his wife (Hayward).He urges him to ride the rodeo,to make his dream come true:buying a ranch.

The depiction of this cruel world is devoid of leniency:we're far away from that of ,say,"Bus stop".And in this man's man's man's world,Ray does not forget the women in the shadow,who hide their fears,suffer and cry.If they made a remake ,I'm sure their parts would be passed over in silence.Women in Ray movies are strong:Crawford in "Johnny Guitar" ,Gardner in "55 days at Peking" and even young girls like Wood in "Rebel" and O'Donnell in "they live by night".

One can wonder whether this is an optimistic or a pessimistic ending.Most of Ray movies include death,but from this death,something new is born.Death is almost necessary to allow the others to go on.In "rebel',Wood and Dean reconcile with the adults who have understood Plato/Mineo's plight and near sacrifice;in" Johnny Guitar",monstrous Cambridge's shooting allows Crawford and Hayden to pick up the pieces;in "55 days at Peking",it's Gardner's sacrifice-while trying to help the children-who will lead Heston to adopt the little Chinese orphan girl.Here ,Mitchum did not die in vain: the young couple is now armed against life's harshness.

Yes, as one commenter noted, Susan Hayward seems a bit Eastern-glamorous to be kicking up dust on the rodeo circuit. But she glowers and snarls with the best of them, and, top-billed in this man's-man movie, she's great fun. But even she's dominated by a supremely confident and virile Robert Mitchum, as a has-been rodeo champ trying to turn her husband (a rather miscast, but hard-working, Arthur Kennedy) into a king of the saddle. It's location-filmed and has no traces of studio hackery, and Nicholas Ray keeps it wonderfully outdoorsy, with some fabulous stunt-riding footage and an authentic atmosphere of the hardscrabble rodeo life. The initial Hayward-Mitchum shower scene has to be one of the sexiest in all 1950s cinema, and there's a great sexual undercurrent to all their encounters. Kennedy seems a little pallid by comparison, and is playing a character that's hard to root for, but he does try hard. I didn't know this movie and am grateful to TCM for running it -- it's a real discovery. However, their print has awfully uneven sound, and you'll have to keep adjusting your volume up, down, up, down.

This is my all-time favorite Robert Mitchum movie. In fact, it's the movie that made Mitchum one of my favorite actors. I saw this movie as a child on television and could not understand why Susan Hayworth would prefer Arthur Kennedy to Robert Mitchum.

It's a dusty, exhausting rodeo film, so realistic that one can almost smell the horses. Seeing how the participants usually had to pick up their winnings ("day money") in a bar after what could have been a physically crippling time in the arena shows how easy it would have been to start drinking to kill the pain and the fear. Also the rodeo "groupies", so ready to soothe the pains and massage the ego, have probably changed very little since the early '50s. The character of Jeff McCloud has obviously been there and done that, and Mitchum plays the weariness with authenticity and sympathy. He also reveals his ability to play comedy in the scene in Rosemary's trailer with Frank Faylen.

I heartily recommend this film to anyone wanting to see a realistic slice of Americana, and good performances by all the leads.

Don't let the title fool you. Apparently part of the studio's design to tempt a broader audience in to see this film, 'The Lusty Men' is just not a very good title for it. Two other titles were considered - one even worse, "This Man is Mine", and one that was better if not exciting, "Cowpoke". Briefly, this is the story of a young ranch worker (Arthur Kennedy) and his new bride (Susan Hayward) trying to save up money to buy a ranch of their own. Faded rodeo star Mitchum crosses their path and changes their lives, showing the young husband Kennedy a shortcut to big money by riding in the rodeo. There's a lot of friction resulting as time goes on, with Kennedy hooked on the easy money and attention, while Hayward fears for his safety and blames Mitchum for driving a wedge between the couple. I won't give away any of the story beyond that.

I do want to give a broader review of this movie for the type that it is. I don't think I've ever seen a seriously-made movie which depicts rodeos or bull riding that was not at least fairly compelling, as this one is. Whether it's 'The Lusty Men' or 'Eight Seconds' or 'The Ride', those who ride rodeo put their lives and safety on the line for relatively little pay in most cases. They pursue their sport with an intensity that may be hard to understand for those who live a more ordinary existence. Just as a compulsive gambler gets that little rush every time he scratches off a lottery ticket or pulls the handle on a slot machine, every time the bull or bronc rider nods his head and the chute gate swings open, he has a brief chance at success and a win and the thrill that goes with it - but he has hundreds, maybe thousands of people playing the game along with him. If he has a great ride, the crowd goes wild. If he gets bucked off, or gets hurt - maybe even killed - he has done so trying to please all those people in addition to himself.

The complexities of the motivation of the rodeo rider belie what some may feel to be a very simple or even 'dumb' pursuit. It is these motivations which create the opportunity for fascinating characters living lives that follow different rules. They live outside the box, even now as they have for decades, in pursuit of their dreams. That's why 'The Lusty Men' and the other rodeo / bull riding films I've seen have been so good. When you start with characters filled with the 'heart and try' to compete at rodeo, people who are not so bound to logic and common-sense, the storyline possibilities are nearly endless.

Things in the world of rodeo have changed since this movie was made. As one other reviewer pointed out, a rodeo rider of the past having to retrieve his winnings at a saloon after having gotten banged up riding that day would be the perfect formula for the start of a drinking problem. Fortunately, they don't get their winnings at a saloon anymore. On the other hand, the 'buckle bunnies' who pursue rodeo riders are still drawn to the lean, lanky, quietly courageous cowboy no matter whether he rode for eight seconds or got bucked off in two. He doesn't need to be a big money winner, because the cowboy's appeal has never been about money. To the contrary - his lack of wealth may be part of his appeal by making him seem more down-to-Earth and approachable, maybe even vulnerable because he is nearly broke. In this movie however, the young cowboy / rising rodeo star does attract the wrong kind of women because he has amassed some money winnings.

You don't have to be a fan of rodeo or bull riding to enjoy this movie. While it does revolve around those sports, the real story is what happens to the young couple and the old rodeo star who enters their lives.

Fascinating, penetrating glimpse into the world of rodeo competitions and the often foolish lengths that men will go to prove their manhood. Superbly shot, written and acted, it's also a chance to see Robert Mitchum in top form. Criminally confident and cool, he absolutely carries the film despite exhibiting the demeanor of a man dozing in a hammock under a hot summer sun. Fed a steady diet of dead-on dialogue like "Never was a bull that couldn't be rode, Never was a cowboy that couldn't be throwed," and "Hope's a funny thing. A man can have it - even when there ain't no reason," he feasts with a wink and a smile. He and feisty Susan Hayward have great chemistry together and the movie is consistently eventful and exciting, with particularly realistic rodeo footage. (Maltin is right about the very last scene though - it does feel false.) By all means, seek it out - it's one of the most purely entertaining 1950's films I can recall.