Honest and hard-working Texas rancher Homer Bannon has a conflict with his unscrupulous, selfish, arrogant and egotistical son Hud who sank into alcoholism after accidentally killing his brother in a car crash.
Brick, an alcoholic ex-football player, drinks his days away and resists the affections of his wife, Maggie. His reunion with his father, Big Daddy, who is dying of cancer, jogs a host of memories and revelations for both father and son.
Drifter Chance Wayne returns to his hometown after many years of trying to make it in the movies. Arriving with him is a faded film star he picked up along the way, Alexandra Del Lago. ... See full summary »
A no account outlaw establishes his own particular brand of law and order and builds a town on the edges of civilization in this farcical western. With the aid of an old law text and ... See full summary »
Hud Bannon is a ruthless young man who tarnishes everything and everyone he touches. Hud represents the perfect embodiment of alienated youth, out for kicks with no regard for the consequences. There is bitter conflict between the callous Hud and his stern and highly principled father, Homer. Hud's nephew Lon admires Hud's cheating ways, though he soon becomes aware of Hud's reckless amorality to bear him anymore. In the world of the takers and the taken, Hud is a winner. He's a cheat, but, he explains "I always say the law was meant to be interpreted in a lenient manner." Written by
Patricia Neal loved working with Martin Ritt, feeling that for the first time since working with Elia Kazan on A Face in the Crowd (1957) she could do anything a director asked of her. Ritt was mutually happy with the working relationship and told her, "The minute I saw you handling those pots and pans, I could tell you were a woman who knew her way around a kitchen." See more »
The audio sound of the motor of the pickup in the opening scenes is clearly that of an inline engine. However, the GMC pickup had "V8" emblems clearly seen on the front fender sides, and the sound of a v-type engine is quite dissimilar to that of an inline. See more »
As a native of West Texas, I think this film is one of the finest in American cinema. You don't watch a movie - you experience a real time and place. I happen to love a bunch of Paul Newman's films (The 3 H's - Hud, Hombre and Harper; Cool Hand Luke; The Sting; The Hustler; The Color of Money...), but I'm not what you'd call a rabid fan. I think he is compelling, but has a fairly limited range. He is perfect in this role, but it isn't much different from The Hustler or Cool Hand Luke. However, watching Melvyn Douglas is like watching somebody that Marty Ritt pulled off of some ranch and filmed in his daily life. His performance is absolutely dead- on. The gravelly drawl, the old boy shuffle, his expression - the way his eyes take in the landscape or gaze intently into a bowl of ice cream while Hud talks - all incredibly REAL! I KNOW those old guys!
Melvyn Douglas is a truly under-appreciated American acting genius whose career spanned over 5 decades. His range is tremendous. This is the same honey-tongued actor who is the perfect comic foil to Garbo's Ninotchka in the '30's (In fact, he is one of her only REPEAT leading men!) And his bluster-filled performance in I Never Sang for My Father (with another modern great, Gene Hackman) is also out of this world! Other commentators have addressed Hud's multi-faceted story and the incredible B&W cinematography. All wonderful - but the next time you watch this true American classic, focus on Douglas' Oscar-winning performance. You will be amazed! (And remind yourself of some of the early roles in romantic comedies - Ninotchka, That Uncertain Feeling, This Thing Called Love or Mr. Blandings Builds His Dream House - this same actor performed so well.)
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