La mujer codiciada

Fascinating, penetrating glimpse into the world of rodeo competitions and the often foolish lengths that men will go to prove their manhood. Superbly shot, written and acted, it's also a chance to see Robert Mitchum in top form. Criminally confident and cool, he absolutely carries the film despite exhibiting the demeanor of a man dozing in a hammock under a hot summer sun. Fed a steady diet of dead-on dialogue like "Never was a bull that couldn't be rode, Never was a cowboy that couldn't be throwed," and "Hope's a funny thing. A man can have it - even when there ain't no reason," he feasts with a wink and a smile. He and feisty Susan Hayward have great chemistry together and the movie is consistently eventful and exciting, with particularly realistic rodeo footage. (Maltin is right about the very last scene though - it does feel false.) By all means, seek it out - it's one of the most purely entertaining 1950's films I can recall.

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.

After viewing this film, it is truly a great 1950's classic with outstanding acting by the entire cast; and a great story with a realistic view of what the Rodeo life really is and the pain and suffering that is experienced by men and woman. Robert Mitchum(Jeff McCloud),"Farewell',My Lovely",'75, played a real calm cool veteran star of the Cowboy game shows and was very successful, but was beginning to show wear and tear. Arthur Kennedy, (Wes Merritt),"Peyton Place",'57, was originally a ranch hand trying to buy his dream house for his wife Louise Merritt,(Susan Hayward),"With A Song in My Heart",'52, and loved her husband very much. However, when Wes Merritt got together with Jeff McCloud, all hell broke loose and Louise did everything she could to hog tie her husband down from very hot women, wild horses, and bulls with angry tempers. Great film, don't miss it, it will be around for many generations to enjoy.

This is my all-time favorite Robert Mitchum movie. In fact, it's the movie that made Mitchum one of my favorite actors. I saw this movie as a child on television and could not understand why Susan Hayworth would prefer Arthur Kennedy to Robert Mitchum.

It's a dusty, exhausting rodeo film, so realistic that one can almost smell the horses. Seeing how the participants usually had to pick up their winnings ("day money") in a bar after what could have been a physically crippling time in the arena shows how easy it would have been to start drinking to kill the pain and the fear. Also the rodeo "groupies", so ready to soothe the pains and massage the ego, have probably changed very little since the early '50s. The character of Jeff McCloud has obviously been there and done that, and Mitchum plays the weariness with authenticity and sympathy. He also reveals his ability to play comedy in the scene in Rosemary's trailer with Frank Faylen.

I heartily recommend this film to anyone wanting to see a realistic slice of Americana, and good performances by all the leads.

Yes, as one commenter noted, Susan Hayward seems a bit Eastern-glamorous to be kicking up dust on the rodeo circuit. But she glowers and snarls with the best of them, and, top-billed in this man's-man movie, she's great fun. But even she's dominated by a supremely confident and virile Robert Mitchum, as a has-been rodeo champ trying to turn her husband (a rather miscast, but hard-working, Arthur Kennedy) into a king of the saddle. It's ___location-filmed and has no traces of studio hackery, and Nicholas Ray keeps it wonderfully outdoorsy, with some fabulous stunt-riding footage and an authentic atmosphere of the hardscrabble rodeo life. The initial Hayward-Mitchum shower scene has to be one of the sexiest in all 1950s cinema, and there's a great sexual undercurrent to all their encounters. Kennedy seems a little pallid by comparison, and is playing a character that's hard to root for, but he does try hard. I didn't know this movie and am grateful to TCM for running it -- it's a real discovery. However, their print has awfully uneven sound, and you'll have to keep adjusting your volume up, down, up, down.