“More or less” – John Russell
How to function within Western culture. That’s what John Russell must figure out as a man who was raised by Apache and then is forced to enter the “white man’s world” to collect his deceased father’s possessions (a watch and a boarding house). He starts out complete with long locks and a bandanna, but soon switches over to more traditional western wear in a way blending into society — while simultaneously beginning to look more like the Paul Newman we know.
But he’s far from the affable ne’er do well. In fact, he hardly even utters a word. He’s not agreeable and about as terse as they come. He’s not looking for any favors and he’s not looking to hand out any charity. He’s also not going to take the white man’s flack. But his decision to sell his boarding house for horses is not too popular with the home’s residence, including the fiery Jessie (Diane Cilento).
Ultimately, Russell boards the local stage with a few other individuals. The destination doesn’t seem to matter much, but the people do. Leading the coach is affable Mexican Henry Mendez (Martin Balsam) and along with the two aforementioned, the other two misplaced tenants, young Billy Joe and his wife join the contingent. The coach is rounded out by Indian Agent Alexander Favor (Frederic March), his well to do wife, and finally, the vulgar tough-guy Cicero Grimes (Richard Boone).
When Dr. Favor learns of Russell’s background he requests that the Indian sit up top, and such a reaction embitters Russell. But there’s not much time to worry about the prejudice, because Cicero’s cronies hold up the stage in an effort to swipe some ill-gotten gain from the esteemed doctor. The survivors are left to die and Russell heads off on his own with a few stragglers trying to catch up with him. He has no sympathy to offer, but they follow him because he is the most knowledgeable among them.
Of course, the film must reach a crescendo and it occurs with Russell dealing with Dr. Favor and then Boone. Both men are crooked in their own ways. Grimes is sadistic in nature, but Favor is also a despicable and sorry excuse for a human being. And yet Russell himself has his own streak of heartlessness. What it means is that each man must face justice and in some way, shape, or form pay for their deeds. Just as the men come in different incarnations, they are complimented by varying degrees of women from all across the gamut.
Director Martin Ritt’s Hombre really feels like a riff off of Stagecoach and feels somewhat reminiscent to Boetticher’s western The Tall T (also featuring a no good Richard Boone). But it’s no doubt a western for the 1960s, coloring the West with more liberal and revisionist tones. However, the film deals not only with prejudice, but morality. For although John Russell has a gripe with the world and its hypocrisy, since his people are getting pushed out by men who call themselves “Christian,” he’s not without fault. Jessie so rightly points out, that if the whole world didn’t lift a finger then the whole world would go to hell in a hand-basket. And in many ways this world does.