User reviews

Robert Middleton was a big brutish character actor... We have seen him in "The Silver Chalice" opposite Paul Newman, in "Friendly Persuasion" opposite Gary Cooper and in "Love Me Tender" with Elvis Presley...

In "The Proud Ones", he is at his best as the smooth-faced and smooth-spoken saloon owner who tries to have the lawman relieved of his job in order for the town to be wide open for wild business...

Middleton makes a considerable impression as Honest John Barrett, distinctive in his dishonesty and insincere manners... He is a thief ready for anything in order to control his lucrative interests, hiring cheap crooks like George Mathews (Dillon) who results a fraud according to his rules... We see him hiring dangerous gunmen willing to slay at any time like Chico (Rodolfo Acosta), who swears to the Marshal that he will kill him one day...

The film arouses profound suspicion that we are pushed to ask ourselves why a suspicious man like the Marshal had to shoot someone apparently unarmed from behind and can we justify his action?! ¿Is he, by any chance, a 'trigger-happy' murderer?

Jeffrey Hunter performs the mistaken cowboy involved in a sinful act to avenge his father's death with the wrong man... He never believes the rectitude of the Marshal who has a questionable past... Hunter accuses him of killing his father... 'It was either him or me', exclaims Ryan, 'but I never shot an unarmed man in my life.'

The climax of the film proves clearly and openly the whole truth to the tormented young man when he confronts Barrett in a showdown... The film wakes up our attention in its development when we discover that the proud Marshall is losing the power of seeing, a serious problem considered suicidal for a lawman who has powerful enemies...

With the lovely Virginia Mayo, the good jailer Brennan and the timid O'Connell, "The Proud Ones" is a solid Western, which remembers me a similar one, "The Lonely Man" with Jack Palance and Anthony Perkins...

The Proud Ones is just that: A Western about the proud men of the Old West starring Robert Ryan and Virginia Mayo and a host of other good performers. The plot is simple: A lawman is trying to keep peace in town when the trail drovers arrive. One of them, a young cowboy with two sixguns on his hips, has a grudge against the lawman because the lawman killed his father a few years earlier in another town. Ryan, playing the lawman, takes the youth under his wings and trains him. Eventually, he comes around. But that is not the main problem. Ryan, suffering a wound, is having trouble with his eye-sight and it's effecting his work. That will pose a great problem before the movie ends.

Robert Ryan has always been a great actor. He plays the tough, hard character in nearly every film and does it as though it were as natural for him as eating dinner. And he comes through in amazing style in this Western as the lawman.

It's a really good Western with some solid Western action and, for those who are Western fans, it is one well worth viewing over and over. For the mainline theme is: How much will a man/woman do in order to retain their honor and pride? It's a question each of us have to face in life and this movie offers some good feedback about the answer.

I strongly recommend the movie to all.

"The Proud Ones" has an extremely fine script by Edmund H. North, veteran screenwriter; its plot vastly improves on the novel on which it was ostensibly based. Robert D. Webb's direction is taut, featuring dense images, helping his actors to achieve top-notch performances. Every element of this production works, from the art direction by classy Lyle Wheeler to the memorable theme song, the music by Lionel Newman, the sets, and the costumes by Travilla. Among the outstanding performances are those given by Robert Middleton as "Honest John", villain of the piece, George Matthews as his 'segundo', Whitner Bissell and others as townsmen and henchmen; the film is far-above-average in acting. This well-remembered dramatic western stars Robert Ryan, Virginia Mayo and young Jeffrey Hunter as a youth who is befriended by an aging marshal (who has been run out of a town poisoned by the lies of a delusive gambling joint owner). Hunter acquits himself well, as does Ryan, as the younger man tries to forgive the man he begins to admire, even after he has killed the boy's father in the line of duty. Virginia Mayo achieves considerable skill and charm as the woman who loves Ryan. The story's theme of honesty set against plausible pretense is unusual and difficult to carry off; the adjective "proud" has been forced to carry two contradictory meanings for years. Here it is used correctly in a secular sense to refer to men too honest to be bought off and too brave to be scared off, the sort of men who will fight when necessary, refusing to be intimidated. All-too-rare are films that celebrate objective minds, people who can be honestly wrong but act ethically when the chips are down. Whole genres are based on the betrayal of such commitments by people who argue they "can't help being what they are".As the beleaguered marshal in this story faces a town full of profiteers with the wrongness of their selling out to be opportunistic looters of unearned wealth during a boom, the film is raised to heights of thoughtfulness and of clearly-exampled good and bad behavior seldom found in the western genre. This is a very good and a very memorable achievement of cinema. Incidentally, it is physically beautiful to watch as well.

The quintessential thinking western. The man wronged (Ryan), the dependable woman in his life (Mayo), the young man searching for the truth(?) (Hunter).

A good western with the normal hallmarks of this genre. Good storyline, actors who can actually act (Jeff Hunter's best acting display since "The Searchers") and importantly in any move or TV programme , great, haunting soundtrack. The whistling of this gives this western depth and feeling. The other actors, including the head villain, all play their parts with a modicum of effort, enhancing this film.

The various shootouts are well handled, with Ryan's worsening disability becoming more obvious, as an example the shootout in the barn. Hunter's young man changes as the movie progresses in now not wanting to kill a semi blind man and also realising that perhaps the sherrif is right but his search for the truth of his father will out.

The final confrontation in the saloon followed by the the haunting soundtrack makes for a memorable western.

This is the best of three efforts by director Webb I watched in quick succession; like WHITE FEATHER (1955), it's a Western that – as far as I'm aware – has never been shown on Italian TV (which is how I first became familiar with a good many vintage Hollywood title).

The film revolves around one of the most popular Western themes – the tough Marshall (in this case, a typically impressive Robert Ryan) taming a lawless town. A couple of unusual twists which heighten the tension considerably concern the fact that the young man (Jeffrey Hunter) he appoints as his deputy – and on whom he comes to depend due to his gradual blindness – bears him a personal grudge; on the other hand, Ryan has his own score to settle with the apparently omnipotent boss (Robert Middleton). For the record, this was the first of three films in which Ryan and Hunter would appear together: the second was the Biblical epic KING OF KINGS (1961), in which the former portrayed John The Baptist and the latter (controversially) Jesus Christ, and the last the historical Western CUSTER OF THE WEST (1967), where both only had supporting roles.

As ever, the hero's woman (Virginia Mayo) becomes embroiled in the violent proceedings – while the eminent members in town prefer to stand aside; then again, not much help is forthcoming from Ryan's own associates either: in a role he'd perfect in RIO BRAVO (1959), Walter Brennan is the cantankerous jailer who all he seems to do is read the newspaper – whereas Arthur O'Connell brings up his wife's imminent motherhood to be excused from the inevitable showdown. The numerous shoot-outs (in a saloon, on the street at night and an all-out gunfight in a barn) denote obvious highlights; however, also notable is a town-council sequence which ends with Ryan's hardboiled comment to his peers: "If I were you, I couldn't look into a mirror without vomiting!" The evocative score by Lionel Newman includes a whistling motif which effectively comes in at particularly revealing moments in the narrative. In the long run, the film proves an underrated entry to emerge from the genre during its most prolific and mature era.

Robert Ryan, Virginia Mayo, and Jeffrey Hunter star in The Proud Ones a pretty good western from 20th Century Fox. It deals with a town marshal in a town that says it wants law and order, but is more interested in the profits that being wide open can bring.

The guy who is bringing in the profits and the lawlessness is saloon owner Robert Middleton and he's got history with Ryan from other towns. Who else has history is Hunter whose father Ryan killed a gunfight. What will happen is anyone's guess.

And if that isn't enough Ryan who sustained a wound to the scalp in a gunfight in Middleton's saloon is having recurring bouts of blindness since the incident. A lot like John Wayne was having bouts of paralysis after being wounded in El Dorado. Ryan also takes his time seeking medical attention just hoping the bad guys don't find out about it and do him in.

The Proud Ones is a nicely done adult western with a good cast giving life to characters you care about. Pay attention also to a nice performance by Walter Brennan as Ryan's deputy. With his character the producers took him and his fate from Destry Rides Again.

No western action fan could possibly complain about the shootout in a stable between Ryan, Hunter and assorted miscreants. That one was taken from High Noon. One of the best staged climaxes I've ever seen in a western.

And western fans should not miss The Proud Ones.

Another great performance by the vastly underrated Robert Ryan. The entire film has a nuanced and adult tone, completely lacking from Rio Bravo, which seems to be a rip-off by Hawks. This film belongs in the company of High Noon, The Ox-bow Incident and damn few other Westerns for the intelligence and seriousness of the script. Ryan's performance alone makes this film watchable and undated, 50 years after. How many other films can say that? Also worth mentioning are the performances of Virginia Mayo as a hard headed business woman, and Walter Brennan. Brennan with hardly any lines of dialog, manages to do more with a newspaper for a prop, and with looks between him and Ryan, then most actors can do when they're chewing the scenery.

The movie contains gun-play , Western noisy action , thrills , exciting spectacle and hard-biting interpretations . Offbeat Western about an almost-blind marshal with recurring bouts of blindness and taking on a nasty bandit . The rowdy ,free-spending cowboys attracted saloon keepers , gamblers , brothels and all types of frontier riff-raff , the town became notorious for its lawlessness , but there was Marshal Cass Silver (Robert Ryan) . After arrival the railway in town , Marshal Cass has to face off villains , killers and other mean people . Meanwhile , a cowboy called Thad Anderson (Jeffrey Hunter) comes to town with a cattle drive and meets Sheriff Silver , who murdered Anderson's dad when he was young . But his revengeful feelings of animosity soon change when Cass is telling the truth about his daddy . Later on , there appears his old nemesis , a corrupt gambler named John Barrett (Robert Middleton) and Cass has to deal with his hoodlums (Rodolfo Acosta , Ken Clark) . But here is a problem however , Cass is blind and he gets to hitting the dust .

The film packs violence , shootouts , high body-count , it's fast moving and quite entertaining . It's a medium budget film with good actors , technicians , production values and pleasing results . A good Western of the kind that was already close in the then changing climate of Hollywood , what follows result to be Westerns in which stand out the twilight style , typical of the sixties . There is plenty of action in the movie , guaranteeing some shoot'em up or stunts every few minutes ; it continues to thicken to the inevitable final showdown . As the movie displays shot'em up , frantic action , thrills and moving pieces . It's a stirring Western with breathtaking confrontation between two leading roles , Robert Ryan/Jeffrey Hunter , and their enemies , Robert Middleton , Ken Clark , Rodolfo Acosta . Robert Ryan interprets efficiently an aging marshal responsible for law and order in a frontier cattle town , Jeffrey Hunter is cool as his young colleague and Robert Middleton is nice as a ruthless saloonkeeper . Virginia Mayo more used to work in Warner Brothers Musical seems miscast as the girlfriend . Support cast is pretty good such as Ken Clark , Rodolfo Acosta as hired guns . Special mention for the latter , Rodolfo Acosta , in his ordinary role as a cruelly baddie , he is terrific, and bears a hysterical and mocking aspect , subsequently he would play similar characters . Furthermore , Arthur O'Connell , Edward Platt , Whit Bissell , Richard Deacon , Jackie Coogan and a wasted Walter Brennan as an old deputy . Enjoyable score , including a catching whistled theme tune that may stay with you for some while . Colorful as well as evocative cinematography by Lucien Ballard , Peckinpah's usual .

Screenplay by Petrarca and prestigious Edmund H North with interesting premise about a 'blind gunfighter' , subsequently taken by Japanese series starred by ¨Zaitochi¨, a blind swordsman from the 60s and being recently remade by Takeshi Kitano . This attractive theme about a blind gunslinger is also treated in other Westerns such as ¨The Blindman¨ by Ferdinando Baldi with Tony Anthony and Ringo Starr , ¨An eye for eye¨ by Michael Moore with Robert Lansing , ¨Minessota Clay¨ with Cameron Mitchell , directed by Sergio Corbucci and ¨Blind Justice¨ (1994) by Richard Spence with Armand Assante , Robert Davi and Elizabeth Shue .

¨The proud ones¨ was expertly staged by Robert D. Webb who carried out an exciting climax of the picture . Robert Webb makes a nice camera work with clever choreography on the showdown , fighting , moving shootouts and suspenseful set pieces . Robert D Webb was the last person to win the short lived Oscar category "Best Assistant Director" . Often worked as assistant to the director Henry King . Directed Elvis Presley in his first feature film , Love Me Tender (1956) . Robert was an assistant director and director, known for Beneath the 12-mile reef , (1953), Seven Cities of Gold (1955) , Love Me Tender (1956) , this The proud ones (1956) , Pirates of Tortuga (1961) and The Cape Town affair (1967) . ¨The proud ones¨ is an outlandish , surprising and uneven story but will appeal to Western aficionados . Rating : 6.5/10 , riotous Western in which there's too much action and violence and excitement enough

My brother gave me this movie for Christmas because he knows I love Robert Ryan. There's just something about middle-aged character actors from the "golden age" of Hollywood that appeals to me; they're so cool and tough in ways that modern actors just can't match.

And this movie did not disappoint me. Ryan is great in it. He's macho and wise but also vulnerable. There were times when I was genuinely worried that the bad guys would get the upper hand over him.

In fact, quite a lot of this movie is suspenseful. It has many unexpected twists, not only in terms of "surprise" action but also character development. The constantly evolving relationship between Ryan and Jeffrey Hunter is a particular source of interest.

Even the mandatory love interest - Virginia Mayo - gets a lot of solid character development, though she does disappear from the movie for somewhat long periods of time.

Best scene? When Ryan rips into the cowardly town council. It's simply awesome.

I like Jeffrey Hunter better as Jesus, however Ryan is a perfect fit for this film. Brennan gives good support and the romantic interest is believable. Most of these formula Westerns were pretty predictable, but this one strays from the usual formula, and so, it is not quite as predictable. The odd chip here is the Hunter character, who is torn between avenging his father and choosing a new path. Well worth viewing.

Twentieth-Century-Fox was second only to Warner Bros. in rehashing the plot lines of its earlier films. "The Proud Ones" was made a mere four years after "Red Skies of Montana" - but the similarities between the films are only too obvious. The newer film even features the same star, Jeffrey Hunter. Not only that, "The Proud Ones" incorporates music cues that Sol Kaplan composed for "Red Skies of Montana." The story of the Cinemascope picture is bound to evoke deja vu: a young upstart seeks vengeance on an older man he believes is responsible for the death of his father. As the young man, Jeffrey Hunter deserves credit for lending credibility to a character whose actions are anything but credible. He did the same miraculous job in "Red Skies of Montana." If anyone thinks Hunter was just a pretty face, his subtle work in these films should prove he had much more to offer.

The rest of the cast in "The Proud Ones" is also excellent, helping to make this one heck of a movie. Unlike its also good predecessor, this "remake" is a western. The genre was obviously chosen to make it seem different from the original. But make no mistake, the two movies are essentially the same. Watch them both and enjoy!

A top-billed Robert Ryan makes the most of his material, playing Cass Silver, a town marshal with a well-developed sense of responsibility. Then, into his town comes a gregarious businessman (Robert Middleton) with a variety of hired guns. Cass already bears a grudge against the man, but is willing to adopt a "wait and see" attitude in the hopes that Middleton and his men stay within the law. As we will see, he's right to have his doubts about them. Virginia Mayo (in an under-written role) is his concerned girlfriend, and the handsome Jeffrey Hunter is a young man who mistakenly believes that Cass unfairly murdered his father.

Scripted by Edmund North and Joseph Petracca, based on a novel by Verne Athanas, the story deals with a main character who could be seen as stubborn. It ruminates on the idea of the lengths people could go to, to defend their honour and pride. As it plays out, it delivers few surprises, taking predictable turns except for the fact that Cass is soon experiencing blurry vision due to a head wound he receives early in the film. Overall, "The Proud Ones" is exceptionally well made, and consistently entertaining. What makes the difference is the fact that Ryan is such a reliable presence, showing that he could play protagonists just as well as he could villains. Hunter is good at selling the anger of his character; although his father was a no-good type, he still feels a sense of injustice and suspicion towards Ryan.

It's also nice to see a cast that is stocked so well with top character actors. Middleton leads the pack as a subtle antagonist. You won't see any real scenery-chewing from him, but he does have an excellent presence. Also appearing are Walter Brennan and Arthur O'Connell as deputies, Ken Clark, Rodolfo Acosta, and George Mathews as assorted unsavoury types in Middleton's employ, Edward Platt as the local doctor, Whit Bissell as a store owner, and Jackie Coogan, Steve Darrell, Richard Deacon, Frank Gerstle, and Ken Terrell, to boot.

Nice music by Lionel Newman and fantastic widescreen photography also help make this a solid example of the genre.

Seven out of 10.

An ageing sheriff attempts to run a crooked gambling syndicate out of town but has to contend with public mistrust given his reputation as 'trigger happy' in this Old West drama starring Robert Ryan. While he looks old enough to be the father of love interest Virginia Mayo, Ryan delivers a very human performance here as he laments the fact that his trigger happy reputation is based only on his word against others and as he states confidently that his "ambition is to be oldest living marshal west of Kansas City". The film features some dialogue that simply simmers with wit too; early on, Ryan is told that "pride can kill a man faster than a bullet", to which he quickly responds "so can overconfidence". The conclusion of the movie feels a bit too neat and tidy for credibility, but this is a pretty solid movie overall with Mayo's underwritten, thankless role probably the biggest detractor; it is either that, or the repetitive whistling music at key dramatic parts. When the film focuses on Ryan though and the trust he tries to build with Jeffrey Hunter, it is top tier stuff with the highlight of the film being an incredibly intense scene in which they practise shooting. Apparently, this was one of Akira Kurosawa's favourite movies. It seems an unusual choice, but with such excellent character drama, it is certainly more notable than the average western out there.

Stern sheriff facing opposition from most of town. Ryan good as always , Hunter also. Brennan slightly different character than his normal deputy role. Mayo , gorgeous as ever. And one of best cast of well known (recognized) extras I can remember. Enjoyable.

I don't know what it is, but there's something about Robert Ryan's face that just breaks my heart when he tears up. Maybe he plays villains so often that when he scrunches up his face and cries, it's just so endearing. In The Proud Ones, he plays a sheriff going blind, so you can imagine how many times he pouts.

While a respected sheriff, Robert still has enemies. Robert Middleton plays an excellent villain (think Ernest Borgnine but a far better actor) and wants to wield the power away from Robert. He recruits the young Jeffrey Hunter who has a personal beef against the sheriff: Robert killed his father in another town. A side plot is Robert's romance with Virginia Mayo, who unfortunately adds nothing to the movie. Walter Brennan costars as the chief deputy, but he's given absolutely nothing to do. He has closeups while reading the newspaper, and lots of long looks after Robert Ryan talks. There's also Arthur O'Connell, Edward Platt, Whit Bissell, and Jackie Coogan.

If you're a Robert Ryan fan, definitely rent this movie. It's so great to see him when he's not the bad guy! The Proud Ones is a great western with interesting twists to the plot and a great leading actor. Follow this up with another Ryan drama, Inferno.

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. When Robert Ryan has his spells, the film gets blurry for a few seconds, and that will make you sick. In other words, "Don't Look, Mom!"

Of all the genres, Westerns are among my least favorite--mostly because I just think there have been too many. So many that the same themes appear again and again and they just don't hold my interest. So, when I find a Western that's just a little different, I get pretty excited. Now THE PROUD ONES has a lot of familiar elements, but enough new ones that I liked the film and am glad I watched it.

It also didn't hurt that it starred one of the best and most underrated actors of the 1950s, Robert Ryan--who played a wonderful character. This character seemed inspired, somewhat, by Gary Cooper in HIGH NOON--a sheriff who refused to back down when it came to doing his job and doing what was right. However, there were a few unique story elements, such as the back stories of both Jeffery Hunter and Ryan. Also, the villain (Robert Middleton) wasn't the usual bad guy--it's usually some power-hungry land baron or bank robber.

Overall, due to a very well constructed script, good action, plenty of tension and excellent direction, this one manages to get an 8--it's really quite good.

I'm surprised by some of the high ratings here for The Proud ones, a solid western with adult dialogue but a rather static atmosphere, a bit like a TV western, it seems studio bound. I didn't get the feeling I was in the wild west but on a film set. That said, it made a good play, as if I could be watching in a theatre so in spite of that it does have some gripping performances. Most noticeable is Robert Ryan, one of the great serious character stars of the golden age. He plays the lawman out to close down the local saloon owner and town bully played by the venomous and slick Robert Middleton so often seen in this role in westerns of the fifties. Ryan is engaged to one of my favourite actresses of any decade, the beautiful Virginia Mayo, who has some of the best scenes, although briefly as she is absent for most of the second half, but when she's on screen, she's hard to ignore. Jeffrey Hunter who I remember died way too young in real life, is the wannabe young gun who Ryan takes on as his deputy, but subsequently he has to watch his own back because Ryan's the guy responsible for the death of Hunter's father before the film has even started, so we don't see that. Arthur O'Connell is another deputy who brings some realism to a minor role of a man who's wife is expecting their first baby and it's made him lose his nerve for doing his job. The great Walter Brennan is wasted in another minor part as another deputy who spends most of the film reading his paper although he's still charismatic when he's not doing much. Some good gun fights although Hunter is a bit too flashy so unrealistic. Helped by cinemascope, this passes the time quite well but doesn't quite capture the authentic feel of a western town like High Noon did so much better. Even so, some good lines for the actors and Robert Ryan can't be faulted in the lead.

A good western with all the ingredients for us to savor plus Robert Ryan? Horses, shootings, bar scenes, whiskey, marshalling, love interest and more await the lover of the western ways. Add to this a good story well told and directed. Take note in this film how devoted the Marshall is and how greedy the towns-folk are. In those days if the law didn't take a stand then lawlessness had its way. Its one or the other and this comes through here. On greed, it attracts its own kind plus it brings its own problems for money made through greed always has a catch to it. The acting holds well, the director loves his work and so much so that your emotions will be stirred and to the viewer what more can you want? Have a decent snack of your choice plus a tasty drink handy and don't rule out beef jerky if you really want to capture the times. Enough talk...saddle up and lets ride

A slightly above Average Fifties Western with Robert Ryan, Technicolor, and Cinemascope the main reasons to catch this rather uninvolving misfire. Things come alive now and then that propel the dreariness and flat handedness to an interesting level.

For example, when the Marshall lectures the Town Counsel and says..."you'd sell out for a copper penny, with your $40 Boots and your $12 Hotel Rooms...I couldn't look in the mirror without vomiting". The Movie breaks toward the edge a few times with some taut gun-play and suspicious motives, but it also lingers and has some very uninspired moments. The target practice piece and some other wasted Screen time with the Love Interest, a Family Man, and Walter Brennan who just sort of sits around.

The Script is also not very convincing with its Back Story, but this is worth a view if nothing much to make it stand out among its Betters. But is a notch above a Western Programmer or the plethora of others from the Decade that are much worse.

"The Proud Ones" (1956) is a town-Western where practically the entire story takes place within the confines of a Western town set, like "Rio Bravo," which came out three years later. At 94 minutes, "The Proud Ones" is more streamlined than the overlong "Rio Bravo," not that it makes it better (it doesn't).

Robert Ryan plays the righteous sheriff in a thankless job, the beautiful Virginia Mayo is his babe, Robert Middleton plays the villainous saloon owner and Jeffrey Hunter the young buck who signs on as deputy at a dangerous time, even though the sheriff killed his father and the tensions thereof.

This is a decent Western with Ryan shining in the main role, but it's hampered by some "yeah, right" dramatics. For instance, Hunter's macho posturing early on (which may be the writer's fault), his character's unnecessary rough handling of Sally while he's wounded in bed (Why sure!) (I think Hunter's a stud enough to get practically any woman he wants any time he wants without resorting to nigh forcible rape), and his stubborn refusal to see evidence that Chico pulled a gun after a shootout (it just doesn't ring true).

Writing like this makes "The Proud Ones" seem more like a TV show than a theatrical film, but, then again, maybe that's just the lame way they wrote screenplays in the 50s, I don't know.

Still, it's got a lot to make it worthwhile, particularly the strong cast.

GRADE: C+