Photos: Filming of "Rio Bravo" at Old Tucson Studios in 1958, Thank this Tucson movie fan for a free screening of John Wayne's "Rio Bravo", Actor John Goodman gives shout-out to Southern Arizona's The Thing on national TV. He clenches and unclenches his hands and moves them from the tips of his pants pockets to his face, twice. This sound signals a shift in the scene’s tone and shows that danger is coming. Dude rubs his face once more and slowly bends down, reaching towards the spittoon. However, as will happen again and again throughout the film, just when Dude thinks he has caught a break, his luck runs out. We never learn this man’s name or backstory, nor do we really ever want or care to know. It is as if Joe is a stand-in for the worst side of Dude and this is Chance reciprocating the blow. First, it makes it clear that Chance is, in fact, the sheriff. The audience has time to align themselves with Dude against Joe, and mentally urge him not to degrade himself by buying a drink with a spit-covered coin. As the film progresses, the murder in the saloon becomes forgotten, and the plot as a whole does not really matter. Dude’s timid entrance is further explained by the following shot, a three-second eye-line match, which shows the room he has entered is a crowded saloon. How Wayne is first revealed is reminiscent of his introduction in John Ford’s Stagecoach (1939) in its striking emphasis on his face. Will DiGravio began writing for Film School Rejects in 2018. In that final moment, Dude is clean, relaxed, and laughing with a friend. For the next thirty-three seconds, the camera, in front of Dude, pans and follows him as he makes his way into the bar. Though we see those legs for a brief moment, they can only belong to one man: the sheriff, Chance, John Wayne. Just as he says this, Hawks cuts to two of Joe’s men walking forward, about to take on Chance. Dude’s slow movement shows not only his poor condition and semi-reluctance to indulge his addiction, but is also a narrative device used by Hawks to build suspense. 39 bilder zum Rio Bravo auf FILMSTARTS.de. A small-town sheriff in the American West enlists the help of a cripple, a drunk, and a young gunfighter in his efforts to hold in jail the brother of the local bad guy. As Chance takes his fourth step, Dude suddenly jumps up, grabs a nearby stick, takes Chance by the arm, spins him around, and strikes him over the head, knocking him unconscious. The brilliance of Rio Bravo comes from Hawks’ ability to tell a visual story through the faces of his characters. He glares at the camera, giving Dude a look of pitiful disgust and a slight shake of the head. Occasionally, the movie seems to have trouble deciding whether it’s a remake or a parody of Rio Bravo . In short, he is in a state opposite to his introduction. It also reinforces Dude’s ownership of the story. The camera cuts back to Joe, who retracts his offer to give Dude a drink and instead rummages in his pocket for a gold piece, which he takes and tosses into a spittoon to Dude’s immediate left. Though his alcoholism has yet to be revealed, the anxiety and sense of longing in his face visually relays this information to the audience. The man is Dude (Dean Martin), who the audience will come to know as the sheriff’s deputy turned alcoholic, whose hands were once the best in the West and now shake after a few hours without a drink. Producer-direcotor Howard Hawks is to Wayne's right on the set of Rio Bravo on May 24, 1958. “You do just about what you want, Chance,” Dude says. At this moment, Chance needs an ally, but it seems unlikely that one will appear. Ricky Nelson messes around with his co-stars Dean Martin and John Wayne, on the set of Rio Bravo filmed at Old Tucson. In that face, we once again feel his vulnerability, and with his eyes we see regret and shame, brought on by the presence and disgust of Chance. On Dec. 2, Turner Classic Movies will host a free screening of the John Wayne movie “Rio Bravo,” which just happened to have been filmed at Old Tucson 60 years ago. The music grows harsher and louder. The trumpets blare, and in walks Chance, with blood dripping down his forehead and rifle in hand. The camera returns to Dude, though this time with a medium shot, allowing the viewer to get a full view of Dude looking down at the spittoon and then back up at Joe.
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