7.0/10
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7 user 5 critic

The Naked Dawn (1955)

Approved | | Crime, Drama, Western | 30 November 1955 (Denmark)
In Mexico, at the dawn of the automobile, modern bandit Santiago burglarizes train freight cars and falls in love with a poor farmer's wife.

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Cast

Complete credited cast:
...
Santiago
...
Maria Lopez
Eugene Iglesias ...
Manuel Lopez
Charlita ...
Tita (entertainer)
Roy Engel ...
Guntz (fence)
Tony Martinez ...
Vicente
...
Railroad guard
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Storyline

Santiago, a jolly modern bandito, has just lost his partner when he happens on the isolated farm of young Manuel and Maria Lopez. Manuel's aid is enlisted in what develops into a violent encounter with Santiago's fence. Exposed to money, the fast life, and Santiago's anarchistic philosophy, Manuel (formerly simple and hardworking) is in serious danger of being corrupted (and Maria is not immune either)... Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

From Vera Cruz to Matamoros they stalked his desperate trail ! See more »


Certificate:

Approved | See all certifications »
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Details

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Release Date:

30 November 1955 (Denmark)  »

Also Known As:

The Bandit  »

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Company Credits

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Technical Specs

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Sound Mix:

(Western Electric Recording)

Color:

(Technicolor)

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Loosely adapted from a short story by Maxim Gorky See more »

Quotes

Santiago: Aww! You know how to die. You watch plenty others.
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Connections

Referenced in Edgar G. Ulmer - The Man Off-screen (2004) See more »

Soundtracks

AI HOMBRE
Music by Herschel Burke Gilbert
Lyrics by William Copeland
Sung and Danced by Charlita
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User Reviews

Likable, different
22 March 2006 | by (New York, NY) – See all my reviews

There is something very likable about this low budget, "poetic" story of an aging outlaw who comes upon the small farm of an ambitious peon and his willful wife. The atmosphere is a bit thick perhaps, constant philosophizing in a "poetic" Spanish accent, with a guitar playing in the background. But Kennedy is particularly good as the outlaw, worldly-wise and mellow with flashes of toughness, anger and cynicism. The other players carry their weight well enough, though Iglesias sometimes goes a bit overboard with his characterization of the naive, greedy young man. There's not much to the story, but it's well told. Here, certainly, is a film that, whatever its ultimate virtues, is unique. Though the subject makes it a Western, the style (as well as the Mexican setting and the apparent thirties time-frame) makes it something completely different. This is the sort of film one expects from Ulmer's reputation; small but personal. I really did like it, but I don't know if I would go as far as Francois Truffaut: "Poetic and violent, tender and droll, moving and subtle, joyously energetic and wholesome... reminds us inevitably of Renoir and Ophuls."


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