Rio Bravo

Howard Hawks - 1959
By this stage Hawks' style is less distinctive. He is more willing to change the proportion of the person we see as the shots go on, and there is a bit less of the usual tracks to open, and fludity throughout. We do retain the pretty long shots generally, and the long scenes. Hawks seems to almost prefer to create a mood through these exchanges, and this film is certainly slow-burning. If somebody came along and thought cinema had to wave and fire the audience to the back of the auditorium every five seconds, one can see how Hawks would be bypassed.
Also, it is rather strange, for me at least, to see Hawks use colour. As per the conventions (and likely due to preservation also), it is all pretty massively saturated.
Known as a counter to 'High Noon', Hawks is here rather succesful in creating his bunch of loyal misfits (a classical Hawksian group, though a little unconventional). Wayne wants to go off on his own, but always has others' help. Everyone is nice and clean cut. The bonding is really more important than the violence. Of course, Hawks is right in the need for unity; did 'High Noon' really reject this? Or didn't it rather wish for it, but find nothing doing in the McCarthy hearings. All the same, though Hawks is clearly politically pretty disastorous, he is right in one way; solidarity good.