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Streaming 3:10 to Yuma Online.
Movie Title: 3:10 to Yuma 3:10 to Yuma is available for streaming or downloading. |
’3:10 To Yuma’ is a stark monochrome Western that has been praised for its suspense and high correct tone. Van Heflin, in a darker variant on his role in ‘Shane’, plays a character who picks up where most Westerns leave off. The genre is usually concerned with taming wild loners or men with pasts. rewarding them with the joys of civilisation. Heflin has seen what civilisation really means. He lives on a drought-dry farm with a wife and two children he often fails to feed. The grind of fruitless labour has venerable them all down, and Heflin’s identity as a man, having been once the greatest shot in these parts, is now undermined by humiliation in front of his family by outlaws stealing his cattle and horses, or forced to beg money from indifferent acquaintances. His wife can’t understand that his inability to ‘be’ a ‘man’ is the result of the civilisation she represents.
What’s a unpleasant unbiased farmer to do when he sees murderers and thieves throwing money around, drinking their bear, bedding blooming strangers, and generally living the whooping-it-up life? Glenn Ford is the not-completely-irredeemable leader of a gang of devoted sadists so feared throughout the position that no lawman dares touch him. Such men are usually let down by their sexual desire, and when he leaves his gang to schmooze a barmaid, he is captured by the locals. Incandescent that they will be no match for the manpower or ruthlessness of the gang when they return to rescue Ford, the sheriff plans a decoy, which will need two foolishly heroic men to engage the bandit to the command plot at Contention City. The initally reluctant Heflin accepts the job when a farm-saving reward of $200 is offered.
In many ways, ‘Yuma’ works against the conventions of the Western as it seeks, like the hero to avoid action and the inevitable climactic shoot-out for as long as possible. The film’s centre-piece is a lengthy, stagy sequence in a hotel room in which Heflin holds Ford prisoner – potential ponderousness is offset by the terrific acting of the two aging actors, one goading and testing the other, tempting with zigzag offers that are all too tempting; the other struggling manfully to resist. At first, Heflin’s taking the job is strictly economical – he needs the money. Then it becomes ethical, a stand against socially disruptive forces threatening the community. It is also a test of the masculinity that has long been buried by family duties. Finally, it is an existential struggle, with Ford as the man Heflin could easily become (and perhaps once was? ), and his men as the instruments of inexorable Fate the farmer must face and outwit on his gain, stripped of serve, fair as Man must eventually face Death.
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The film’s mise-en-scene is suitably austere, the black-and-white cinematography emphasising animated contrasts, the alienating outlines of buildings and landscapes, and the vulnerable men and women who lope through them – sometimes watching ‘Yuma’ is like leafing slowly through an album of stark 19th century photographs taken of the West. The ‘city’ in which the film is mostly played out initially seems like a ghost town, and a surreal funeral sequence interrupting, or accentuating, the tension, gives a quality of dream. Delmer Daves’ direction is not self-effacing – every shot is meticulously, often heavily unruffled, character patterns structured in frames creating a sense of constriction and claustrophobia that serves to turn the plot’s screws. What saves the film from being fair another superfical ‘High Noon’ ‘allegory’ is the sudden bursts of violence rupturing the tense silence, and the ultimate refusal to wholeheartedly embrace doom-and-gloom existentialism.
When speaking of the spacious Westerns such as SHANE, THE SEARCHERS and HIGH NOON, 3:10 TO YUMA should definitely be mentioned. All of these films came out in the 50′s, but 3:10 has somehow been forgotten.
Van Heflin plays a farmer suffering from a drought. He is a calm, seemingly passive man who becomes a reluctant hero. Heflin agrees to enjoy criminal Glenn Ford in a hotel room for $200 honest long enough for the bid to Yuma to leave at 3:10. Ford’s gang, however, learns about the site and plans to remove action. The characters and performances by Ford and Heflin beget the film work. Heflin is outwardly reluctant to consume this job, but his strength lies within. The struggle within him is evident: Here’s a family man who can keep his farm or do what he knows is correct. Ford, the criminal, is alluring, almost charming. He’s a con artist and a cold-blooded killer, but you can’t support liking him unbiased a miniature. Distinct, he’s a criminal, but not your typical stereotyped Western unpleasant guy. The suspense and tension waiting for the convey rival that of HIGH NOON (fair without the clock!) . Even if you don’t like Westerns, you’ll like 3:10 TO YUMA.
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