The movie's a real sleeper. Rodeos were never a popular theme for Hollywood, outside of Saturday matinées. Maybe that's why the studio came up with a misleading title that cheapens expectations. The movie certainly doesn't glamorize rodeo-ing. In fact, it's a pretty scathing look at both the inside and the outside. Jeff's (Mitchum) character is brilliantly conveyed early on as he drifts across the empty field along with other wind-blown discards. He's going back to his roots now that he's quit the circuit, with no other place to go.
So he hooks up with ambitious Wes (Kennedy) and his no-nonsense wife Louise (Hayward). For half of Wes's winnings, veteran rodeo-er Jeff can guide the talented newcomer as he joins the circuit. The trouble is Jeff is attracted to the loyal Louise even as Wes begins to live the fast life on his big winnings. Louise, however, only wants what she's always wanted-: a little spread of her and Wes's own where they can make a home. But Wes is forgetting those plans as he succumbs to the hard-partying of the rootless circuit. So, what will Louise do and just as importantly what will the love-lorn Jeff do now that the marrieds are growing apart.
The partying scenes are particularly well done, conveying just the right touches of cheap booze, loose women, and tall tales. Note that telling camera angle of the grizzled Booker (Hunnicutt) as he gazes up a shapely leg from floor level--- one shot can speak the proverbial volumes. Note too, the subtle way the script implies that trick-rider Rosemary has been sleeping-around, apparently an approved practice in these circles, contrary to the mores of the time (1952). Also, the shower scene when Al (Faylen) walks in is a neat bit of implied humor that depends on audience savvy for its chuckles. It's quite an intelligent screenplay, except for maybe the abrupt, but oddly satisfying, last scene.
Cult director Ray oversees with his usual artistic sensibility, though it looks like he was still suffering intermittent illness since an uncredited Robert Parrish gets a credited appearance from IMDb. And, of course, Mitchum is Mitchum, so low-key here it's hard to read his feelings at any point. No, in my little book, it's Susan Hayward's movie. By golly, she's escaped that dead-end tamale shop and nothing's going to stop her little dream. The guys may be physically tougher, but none can match her inner strength, and Hayward brings it all off in thoroughly convincing fashion. I can't conceive that the movie made money, as downbeat as it is. And I wonder what audiences lured in by the lurid title thought once they saw rodeo. Nonetheless, the film remains an outstanding example of movie-making in a minor key.
