Hud (1963)

The Bannon family have been cattle ranchers for three generations now. Homer Bannon (Melvyn Douglas), the patriarch, is an honest no-nonsense man who's successes solely depend on his ability to work hard. Hud Bannon (Paul Newman), disaffected and self-centered, is the only surviving son who's actions continually threaten the old man's stern nature. Caught in the middle is fresh faced grandson Lonnie Bannon (Brandon de Wilde) who is idolizes Hud, but respects his grandfather too much to cause him the grief and pain that Hud causes. Disease among the well-invested herd, a beautiful housekeeper Alma (Patricia Neal), and Hud's undermining antics force a stand for each man with great repercussions.

Present day viewers expecting a western in the traditional sense, be warned. Hud is a character study. The film is simple in nature. Filmed in beautiful B&W with award winning cinematography, Hud stands on the nuanced performances of it's cast.

Hud is a defining classic in the filmography of Paul Newman. He explodes onscreen as Hud--an alienated youth, caught between his desires and what's right. The boy lives rashly either in an attempt to distant himself for his brother's death or to bring about his own early. You decide.

Equally riveting is Melvyn Douglas' Oscar-winning role as the elder Bannon. His gruff demeanor masks a life of love, loss, and hard-work--he wear it all, proudly, as a badge of honor. But his hardest challenge... Hud is his son.

de Wilde is nice foil to the heavier roles of Newman and Douglas. Pitch perfect as Lonnie, de Wilde is the wild-eyed boy with a transistor radio in his pocket, coming of age, and trying to determine where he fits.

Patricia Neal simmers in sexuality as Alma. The lone woman in this family, she centers and disciplines them all before becoming a causality of the Bannon men.

Two elements of this film serve to enhance these masterful performances. The B&W cinematography from James Wong Howe is powerful. The Bannon family, framed among the arid and gritty backdrop of Texas with wide shots of lone silhouettes evokes strong emotion for the viewer. Silence is used in a powerful way. It punctuates an already terse father/son conflict.

Hud is a dramatic masterpiece. Under Martin Ritt's direction, all of the key elements fall into place and it is beautiful.