Kirk is Excellent | Lonely Are the Brave | Kirk Douglas, Gena Rowlands

Tear jerker for Western purists. | Lonely Are the Brave | Kirk Douglas, Gena Rowlands

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	• Lonely Are the Brave Kirk Douglas, Gena Rowlands Universal Studios, 1992 average customer review:based on 44 reviews view larger image
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highly recommended

If there was ever an under-rated classic, this is it.

I saw this movie at a drive-in theatre with my mom and sister in late summer of 1962. It was the second bill for a feature that I have long forgotten. I was already a big Kirk Douglas fan, having seen him in 20,000 Leagues Under The Sea, Spartacus, and other big-budget projects. What impacted me most was not only the spartan effects of the effective black and white photogrphy, but how Douglas' charcter, Burns, could have escaped if he had chosen to abandon his horse. The early scenes of the horse getting skittish while trying to cross the highway and an early appearance of Carroll O'Connor driving his 18-wheeler are seemingly inconsequential at first, but set up the dramatic ending, highlighted by Walter Matthau's compassionate refusal to identify the subject of his pursuit. In this day and age of high-salaried actors, directors, and extensive computer-generated special effects, I have yet to see a movie that impacted me more than this one.

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Kirk is Excellent

a very good movie ahead of its tim

Tear jerker for Western purists.

Unfortunately made in black & white when movie goers wanted color or nothing.Like Burt Lancasters "The Train."truly a classic movie.

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One of the all-time best movies ever

One of the best ten movies I have seen in my life of over 50 years of watching them.

Must-see film.

Great movies have the capacity to touch minds and change lives. This is one such film. Yet numerous viewers will dismiss it for any number of reasons: that it is not a "true" western, that the symbolism is overly obvious, that it's in black and white, that it's depressing. I suspect the criticism many have of the film is actually a testimony to the film's power to move audiences. But because it doesn't provide the expected, virtually required, formulaic Hollywood happy ending, viewers feel compelled to rationalize their disappointment into a denial of the film.

Combine Thomas Hardy's poem "Convergence of the Twain" with William Blake's criticism of modern industrial life in "London" and insert a story about the "last American cowboy," a rugged individualist in an imprisoning social order. The result is a great film--to those who are brave enough to absorb its meanings and willing to remain alone in their estimate.

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reviews: 1, 2, 3, 4, 5, 6, page 7, 8, 9

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