IMDb > Rio Lobo (1970)
Rio Lobo
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Rio Lobo (1970) More at IMDbPro »

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Overview

User Rating:
6.8/10   5,544 votes »
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Director:
Writers:
Burton Wohl (screenplay) and
Leigh Brackett (screenplay) ...
(more)
Contact:
View company contact information for Rio Lobo on IMDbPro.
Release Date:
18 December 1970 (USA) See more »
Genre:
Tagline:
Give 'Em Hell, John.
Plot:
After the Civil War, Cord McNally searches for the traitor whose perfidy caused the defeat of McNally's unit and the loss of a close friend. Full summary » | Full synopsis »
Plot Keywords:
NewsDesk:
(23 articles)
User Reviews:
The Duke in Transition See more (50 total) »

Cast

  (in credits order) (verified as complete)

John Wayne ... Col. Cord McNally
Jorge Rivero ... Capt. Pierre Cordona

Jennifer O'Neill ... Shasta Delaney

Jack Elam ... Phillips

Christopher Mitchum ... Sgt. Tuscarora Phillips

Victor French ... Ketcham
Susana Dosamantes ... María Carmen

Sherry Lansing ... Amelita

David Huddleston ... Dr. Jones
Mike Henry ... Sheriff Tom Hendricks
Bill Williams ... Sheriff Pat Cronin

Jim Davis ... Riley
Dean Smith ... Bitey

Robert Donner ... Whitey Carter

George Plimpton ... 4th Gunman
Edward Faulkner ... Lt. Harris

Peter Jason ... Lt. Forsythe
Chuck Courtney ... Chuck
Robert Rothwell ... 3rd Gunman
rest of cast listed alphabetically:

Don 'Red' Barry ... Feeny - Bartender (uncredited)
Harold Cops ... (uncredited)
Stanley Corson ... (uncredited)

Sondra Currie ... Blackthorne Prostitute (uncredited)
José Ángel Espinosa 'Ferrusquilla' ... (uncredited)
Chuck Hayward ... (uncredited)
Conrad Hool ... Lon (uncredited)
Lance Hool ... Picket (uncredited)
John Hudkins ... Rio Lobo Deputy (uncredited)
Michael Jeffers ... Barfly in Blackthorne (uncredited)
Frank Kennedy ... (uncredited)
Richard LaMarr ... Man in Army Post Saloon (uncredited)
Charlie Longfoot ... (uncredited)
John McKee ... Rio Lobo Deputy (uncredited)
Boyd 'Red' Morgan ... Train Engineer (uncredited)
William H. O'Brien ... Man in Army Post Saloon (uncredited)
Gregg Palmer ... Pete - Henchman (uncredited)
Jim Prejean ... (uncredited)
Chuck Roberson ... Corporal in Baggage Car (uncredited)
Danny Sands ... (uncredited)
Cap Somers ... Card Player (uncredited)
Anthony Sparrow Hawk ... (uncredited)

Bob Steele ... Rio Lobo Deputy (uncredited)
Tommy Tedesco ... Guitar Player in Opening Credits (uncredited)

Ethan Wayne ... (uncredited)

Hank Worden ... Hank - Hotel Clerk (uncredited)
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Directed by
Howard Hawks 
 
Writing credits
Burton Wohl (screenplay) and
Leigh Brackett (screenplay)

Burton Wohl (story)

Produced by
Howard Hawks .... producer
Paul Helmick .... associate producer (as Paul A. Helmick)
 
Original Music by
Jerry Goldsmith 
 
Cinematography by
William H. Clothier (director of photography)
 
Film Editing by
John Woodcock 
 
Casting by
Hoyt Bowers 
 
Production Design by
Robert Emmet Smith  (as Robert E. Smith)
 
Set Decoration by
William Kiernan  (as William R. Kiernan)
 
Costume Design by
Leah Rhodes 
 
Makeup Department
Jean Austin .... hair stylist
Monty Westmore .... makeup artist
Dave Grayson .... makeup artist (uncredited)
 
Production Management
Robert M. Beche .... unit production manager
 
Second Unit Director or Assistant Director
Yakima Canutt .... second unit director
Mike Moder .... assistant director
 
Art Department
Ray Mercer Jr. .... property master (as Ray F. Mercer Jr.)
Lloyd R. Apperson .... construction foreman (uncredited)
Craig Binkley .... assistant property master (uncredited)
 
Sound Department
John R. Carter .... sound (as John Carter)
Jack A. Finlay .... supervising sound editor (as Jack Finlay)
 
Special Effects by
A.D. Flowers .... special effects
Cliff Wenger .... special effects (as Clifford P. Wenger)
 
Stunts
Joe Canutt .... stunts (uncredited)
Tap Canutt .... stunts (uncredited)
Chuck Courtney .... stunts (uncredited)
Tony Epper .... stunts (uncredited)
Jerry Gatlin .... stunts (uncredited)
Chuck Hayward .... stunts (uncredited)
Ace Hudkins .... stunts (uncredited)
John Hudkins .... stunts (uncredited)
Terry Leonard .... stunts (uncredited)
John McKee .... stunts (uncredited)
Boyd 'Red' Morgan .... stunts (uncredited)
Hal Needham .... stunts (uncredited)
Rudy Robbins .... stunts (uncredited)
Chuck Roberson .... stunts (uncredited)
Danny Sands .... stunts (uncredited)
Dean Smith .... stunts (uncredited)
Neil Summers .... stunts (uncredited)
Jack Williams .... stunts (uncredited)
Rodd Wolff .... stunts (uncredited)
Richard Wright .... stunts (uncredited)
Jack N. Young .... stunts (uncredited)
 
Camera and Electrical Department
William Dodds .... camera operator (as William J. Dodds)
Harry R. Jones .... key grip
James V. Vajana .... gaffer (as James V. Vaiana)
Richard Barth .... first assistant camera (uncredited)
Bill Johnson .... camera operator (uncredited)
Frank Redmond .... assistant camera (uncredited)
 
Casting Department
Frank Kennedy .... extras casting (uncredited)
 
Costume and Wardrobe Department
Patricia Norris .... costumer: women
Theodore R. Parvin .... costumer: men (as Ted Parvin)
Luster Bayless .... wardrobe (uncredited)
Joan Joseff .... costume jeweller (uncredited)
 
Music Department
Gene Feldman .... supervising music editor
Arthur Morton .... orchestrator (uncredited)
Tommy Tedesco .... musician: guitar solo (uncredited)
 
Other crew
Dennis L. Judd II .... location coordinator
Don Record .... director: titles
Don Record .... title designer
Marshall J. Wolins .... script supervisor
'Chema' Hernandez .... head wrangler (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
114 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Australia:M | Canada:PG (Manitoba/Ontario) | Canada:G (Nova Scotia/Quebec) | Finland:K-16 | Germany:12 (DVD rating) | Iceland:12 | Netherlands:14 (orginal rating) | Norway:16 | Singapore:PG | Sweden:15 | UK:PG | USA:G | West Germany:16 (f) | West Germany:12 (f) (new rating)
Filming Locations:

Did You Know?

Trivia:
When John Wayne visits Bill Williams in the sheriff's office, there is a wanted poster on the wall for Hondo Lane, the character Wayne played in Hondo (1953).See more »
Goofs:
Audio/visual unsynchronized: During the final shootout, when Hendricks shoots Ketcham, McNally mouths some words right before he shoots at Hendricks, but there is no audio.See more »
Quotes:
Cord McNally:[after being shot in the leg in front of the saloon] Owww!See more »
Movie Connections:
Referenced in The Jitters (1989)See more »

FAQ

This FAQ is empty. Add the first question.
19 out of 26 people found the following review useful.
The Duke in Transition, 15 April 2002
Author: RHKLWK

When I decided to write a review of Rio Lobo, I had every expectation of visiting the website and finding that the movie's weighted average was a 2.5. I was pleasantly surprised to see that it's a 7.5, and that's actually a half-point higher than my own score. To cut to the chase: I liked Rio Lobo.

It was fashionable in 1970 to trash Rio Lobo because (a) it was the supposedly feeble, last effort of a great director, Howard Hawks, who had supposedly lost interest in the picture; (b) it was too derivative of Rio Bravo and El Dorado; (c) the Duke was too old to play the part of a cavalry colonel (to say nothing of being too big; the average cavalryman in the Civil War was 5'7" and 135 lbs.); (d) the supporting cast was pathetic; (e) the production values were poor; and (f) the movie paled in comparison to Little Big Man, which was released at the same time. Much of the criticism was true. But, it was fun to watch, anyway.

Ford had his cavalry trilogy, and Hawks had his Rio trilogy, and the Duke was in all six of them. The Ford set is a cut above the Hawks set, but all six films are worth watching. Ford was working with Wayne (1947-50) at a time when Wayne's acting ability was still very much in question. And Ford succeeded on every level, especially in She Wore a Yellow Ribbon, where the character development of Capt. Nathan Brittles (Wayne) is nothing but sheer genius. Hawks, on the other hand, had (by 1959, in Rio Bravo) a very established star, and was thereby free to dwell more on story telling than he was on character development. Besides, with those amazing exteriors, the cinemagography alone was worth the cost of admission to all six pictures.

The Duke was too old to play a romantic lead in this picture (but so was Cary Grant in his last picture, Walk, Don't Run, when he, too, was about 63 years-old.) The fact that he was not a "threat" to O'Neill's character (in those pre-Viagra days) was nothing more than an extension of the persona the Duke captured the year before in True Grit, and would continue to build on in such films as The Cowboys and The Shootist. Let's face it: Wayne was becoming a likeable old coot.

Hawks was, according to reports, disappointed in Jennifer O'Neill, and by the last reel, her part has been cut in favor of Sherry Lansing's part. (Hawks did the same thing to John Ireland's part in Red River, 30 years earlier.) Actually, O'Neill didn't do THAT bad. My problem with her is that she couldn't decide whether she would play her part as the New York high-fashion model that she was, or as Kim Darby reprising her role in True Grit. At times, O'Neill's semi-imitation of Darby gets on one's nerves.

And, Hawks was rightfully disappointed in the desultory performances of the supporting cast, with the exception of Lansing and Jack Elam. The Confederate cavalry captain: He might as well have been created by computer graphics, for all the vitality he brings to the role. But, take a look at the stock players, including Hank Worden ("Old Mose" in The Searchers) and Jim Davis (Jock Ewing of Dallas fame). These are virtually cameos, if not walk-on parts, but they are effective.

I do not think Hawks gave up on this film, at least, not to the extent that people have claimed. Yakima Canutt ably handled the second unit, and the train hijacking he directed (with Hawks' help) was unusual and exciting; the cinematography, but for the occasional lighting or filtering error, was acceptable; and the editing was fairly crisp. The interior sets were shabby, that is true.

But what carries the picture is the wonderful dialogue, and Wayne. The dialogue is "pure Hawks": spare, unambiguous, natural, and realistic. Wayne's onscreen personal is so great, and his presence so magnificent, that all of the films shortcomings are rendered irrelevant.

Thank you, Mr. Hawks. Well done.





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