Cebalord Very best movie i ever watch

Jeanskynebu the audience applauded

PodBill Just what I expected

Sameer Callahan It really made me laugh, but for some moments I was tearing up because I could relate so much.

virek213 Paul Newman's career had so many high points, whether it was in Tennessee Williams (CAT ON A HOT TIN ROOF; SWEET BIRD OF YOUTH), private eye films (HARPER), prison films (COOL HAND Luke), Westerns (HOMBRE; BUTCH CASSIDY AND THE SUNDANCE KID), period comedy (THE STING), or even disaster films (THE TOWERING INFERNO). But he was known for being an actor who took big chances with the supposed image he had in the press. The best example of this was with the 1963 contemporary Western HUD, where he played, for lack of a better word, a genuine bastard.Based on the Larry McMurtry novel "Horsemen Pass By", HUD puts Newman in the title role of a n'er-do-well Texas cattle baron's son who lacks the kind of scruples and morals that the father (Melvyn Douglas, in an Oscar-winning role) thought he had passed on to him. Newman had lost his brother in an auto accident a few years back, and since then he has become a fairly lecherous, often inebriated no-count. He is a very poor example to his nephew (Brandon DeWilde), and his father is increasingly fed up with him. And yet, he does not give a damn. He has his eyes on a prize.But that prize will be costly for Douglas. Pretty soon, he learns that his entire cattle herd has been infected with a dreadful case of hoof-and-mouth disease; and the only way to keep these cattle from going to market in the state they are in, and thus creating an epidemic all over the country, is to kill them all, something that will totally ruin the old man. Not that Newman cares, of course; he is thinking of the future there in Texas, and it's not cattle, it's oil. Newman also gets it on with the family housekeeper Alma (Patricia Neal, who also won an Oscar for her role, and was the wife of legendary children's novelist Roald Dahl). Neal tolerates this for the most part, but after Newman basically rapes her, she passes a Rubicon with him. The tragedies multiply, with the mass slaughter of the herd, Douglas' death, and the departures of both Neal and DeWilde. But Newman doesn't change.With a screenplay by Irvin Ravetch and Harriet Frank Jr., and excellent direction by Martin Ritt, HUD is a stark and genuinely personal look at the world of ranchers and farmers in a Texas that is quickly becoming modernized. The world that made it possible for men like Douglas to make something of themselves is being replaced by a society that makes guys like Newman the future, and not necessarily a good future. The genuine flatness of the Texas landscape and the starkness of the small Texas town where the film is set are rendered with incredible realism via the superb black-and-white cinematography of James Wong Howe, who won the film's third Oscar. Douglas and Neal are excellent in their roles, as is DeWilde, whose other memorable role was as the young boy in the classic 1953 western SHANE. Elmer Bernstein's minimalist, minor-key guitar score is punctuated by the various bits of country-and-western music coming out of radios and jukeboxes, giving the film an even greater reality and authenticity.But it is Newman himself who so brilliantly stands out. He plays someone who is thoroughly unsympathetic, a rake of the first order. Virtually nobody in this day and age would ever be able to play that kind of a role; and Hollywood wouldn't even bother to make such a film now. But HUD comes from the early 1960s, when Hollywood was becoming more attuned to the times instead of being stuck in the past, or too timid to be as close to real as possible. And Newman was a huge part of that. Had his good friend Sidney Poitier not been equally as good in LILLIES OF THE FIELD in that same year, Newman would have won that year's Best Actor Oscar (though I don't want to besmirch Poitier's exemplary career, or his Oscar-winning role in any way).Still, HUD is a great, if rather depressing, film of a time that is, in a lot of ways, sadly a distant memory. It remains one of the most important films of its kind, and of its time.

Jakester Two classic films based on the writing of Larry McMurtry have immortalized a certain Texas small town state-of-mind, "Hud" and "The Last Picture Show." McMurtry has been fantastically lucky with Hollywood, artistically and financially, as lucky as any American writer ever - see also the wonderful "Lonesome Dove" and his beautiful co-scripting of "Brokeback Mountain." "Hud" is superb. The acting, the photography, the epic three-generational family conflict - all excellent. (I can't think off-hand of many pictures that delve into the complexities of three generations of a family; "The Godfather" trilogy kind of explores that territory, although the third generation has no actual contact with the first.)This film caps off the first great phase of Paul Newman's career. He did some of his best work from 1956 to '63 including "Somebody Up There Likes Me," "Sweet Bird of Youth," "The Long, Hot Summer," "The Left-Handed Gun" (a really interesting portrayal of Billy the Kid), and "The Hustler." After "Hud" he had a three-year rough patch that included "The Outrage," "Lady L." and "Torn Curtain" before storming back into superstardom with "Harper" and "Cool Hand Luke" in 1966 and '67 and "Butch Cassidy" in '69. Patricia Neal is perfect here: tough, sweet, and funny, a poker-playing mama with a lot of passion bubbling under the surface. Her role in "Hud" is quite small really (most of her screen time is in the first hour) but we feel her presence, and are thinking about her, from her first appearance. (Neal had difficult and tragic first half of the '60s - one of her children died of measles (1962), another was seriously injured by a New York taxicab (1960), and, in 1965, post-"Hud," she herself suffered a serious stroke. Neal apparently told Newman about the measles death early in the filming of "Hud"; he was so deep into his character he just said "Tough" and ambled away.) The director and screenwriters of "Hud" deserve a shout-out and I am happy to supply it here: Martin Ritt (director) and the writing team of Irving Ravetch and Harriet Frank, husband-and-wife. Those three folks had previously worked with Newman on "The Long, Hot Summer" (based on William Faulkner's "The Hamlet"). Some of my favorite lines and images: "Far as I can get on a bus ticket" delivered with a cool go-to-hell glance. The beautiful moment when Homer belts out "My Darling Clementine" in the movie theater (by the way, that's basically the same theater as in "The Last Picture Show"). The endless skies. The sound of the wind. "We dosey-doed and chased a lot of girlish butt around that summer." "I was sitting way on the other side of the room and I got a little encouraged." The Cadillac bouncing on those country roads and railroad tracks - suspensions were none too robust in those days. The way Alma says "Somebody in this car has been wearing Chanel Number Fiiiiiive...." Her zapping with a towel of a horsefly (the moment was unscripted). The use of music (guitars, a jukebox, a transistor radio, a car radio - spare and totally right). The twisting contest. The lemonade scene. "I'll stay home. I don't like pigs." The depiction of the prairie and the sky as an Impressionist painting by Ritt and cinematographer James Wong Howe (Howe considered his work here the best of his long career, which dated to the silent era). The paperback book rack in the drugstore and the pointed commentary from the proprietor about a sex scene in "From Here to Eternity." (The paperback book rack in the corner drugstore was a significant part of American culture for decades, in a thousand cities and towns; it's gone now and mostly forgotten.)My favorite Melvyn Douglas moment in the film is when he's taking a last look at his longhorns. It's a small miracle of acting - the camera is a good 25 feet away but we feel every bit of Homer's grief. Speaking of James Wong Howe - there's a long audio interview with him on YouTube and there's an excellent book about him titled "James Wong Howe: The Camera Eye."One of the interesting themes of the film is its earthiness about sex. Not just Hud's supercharged/decadent sex life but Alma's casualness about Lonnie's girlie magazine, Homer's frank appraisal of the growing boy, the provocative let's-party look delivered to Lonnie in the diner, the twist contest where very young kids get on out there - totally unembarrassed - and shake their booties under the fond gaze of half the town, the "From Here to Eternity" moment in the store.I have a quibble with an aspect of the script. Homer's a good man and Hud's a bad man, quite obviously, but the fact is, Hud makes a valid and defensible point about the family's future. Those fields probably hold a lot of oil and Hud knows it and wants it. Homer's prejudice against getting rich is not adequately explained. What we need is a scene where Homer and Lonnie have an encounter with some nouveau-riche oil-crazy goofballs who are drinking and partying too gosh-darn hard (with Hud amongst them); Homer sees the corruption that wealth can bring and makes sure Lonnie sees it too.

nautiyalati Hud is a true masterpiece , I doubt if it was really made in 1963 because it shows the life of a hot blooded , party lover young man of 21st century . I mean who don't want a life like Hud , working in day , helping father in farm and then in the night driving to Town , grab a drink , talk to girls or taking her on a ride and partying all night .I really wish , i had a life like Hud but i was born in an Army family and following rules , regulation , discipline since childhood i know outside the Military area where i live people party , roam like free birds and have all the fun .well lets come back to the movie , its really awesome to have an older brother or uncle to company you and take care of you if you stuck in a fight or brawl , drinking together really brings family feelingsHaving an Old man in house is a good thing as he tries his best to maintain discipline in family and showing the right path , This movie will never fail to entertain you , you can watch it over and over again and you will never bore because every time you see it , it makes you partying out and having a fun Brawl after getting drunk !!!

LeonLouisRicci Minimalist Movie with Maximum Performances from All Four Major Players. It is a Widescreen Landscape of Wide Open Spaces Perfected by Legendary Lenser James Wong Howe. The Ranch Owned by Melvin Douglas, Papa Bannon, is One Disease Away from Disaster. The No-Account, Ungrateful Paul Newman, Hud Bannon, is the Tornado that the Story Swirls. Hud's, Nephew and Pappa's Grandchild Brandon De Wilde, Lonnie Bannon, is a Straight and Considerate Teenager who Looks Up to His Uncle Hud as Hero. The Hardworking, Easy Going Middle-Aged but Still Pretty Housekeeper to the Bannon Clan is Patricia Neal, Alma.That's the Quartet of Dusty Downwards that Populate this Gritty Story and it is Interesting but Not Altogether Fascinating to Watch these Folks as Fate Deals a Deathly Hand in this Poker Game of Life. The Film is on One Wavelength and Rarely Wavers. It is a Straightforward Telling of Real People Dealing with Real Life. One of the Movie's Strength, besides the Great Acting, is its Ability to Not Look Dated, in All Respects. The Ranch, the People, the Story, the Dialog, the Score, the Look, is Timeless and Makes the Film just as Powerful Today as 50 Years Ago.But ironically, Considering the Setting, there is Little Breadth or Scope and the Film is a Confinement of Principals in a Very Large Space. The Tone is Singular and the Story is Familiar. The Film is a Fine Hollywood Production with Superb Technical Accomplishments. It's got a Soap-Opera Feel and it Wears a Somewhat Trashy Novel Approach on its Sleeve. Powerful at Times and a Bit Flat at Others. The Greased Pigs and the Juke Joint seem Stuck In for No Apparent Reason Except to Give Lonnie a Chance to get Drunk with Hud. The Scene, and a Few Others, are so Unremarkable and Ho Hum They Seem Out of Place and don't Belong in a Movie that is So Good Otherwise. Not a Masterpiece but a Very Good Production with Outstanding Acting, a Good Look, and Overall Overrated.