3:10 to Yuma (1957) User Reviews

Another Wonderful Classic Western.

[jpdoherty · 8/10 · 19 May 2010]

"A HUNDRED YARDS TO THE STATION - A HUNDRED SECONDS TO GET THERE

AND A HUNDRED BULLETS SAYING.... THEY'LL NEVER MAKE IT"!

So goes the explosive text on the poster for Columbia Picture's 3.TEN TO YUMA (1957). An iconic western 3.TEN TO YUMA has quite deservedly taken its place in the pantheon of classic fifties westerns alongside "Shane", "The Searchers", "High Noon" et al. From a story by the tireless Elmore Leonard it was beautifully written for the screen by Halsted Welles and produced for the studio by David Heilwell. With stark monochrome cinematography by the great Charles Lawton Jr. the picture was arguably the best directorial effort to come from master craftsman Delmer Daves.

Glenn Ford heads a superb cast as notorious outlaw Ben Wade who, with his gang, holds up the Butterfield stagecoach, kills the guard and relieves it of its strongbox contents. Van Heflin is Dan Evens the struggling small rancher who - with his wife (Leora Dana) and two small sons try their best to eke out a living on their dried out small holding. But without rain or the money to buy water rights for a nearby stream to water the cattle Dan finds it difficult to carry on. But then luck comes his way. Wade is captured by the posse and the Sheriff offers $200 to anyone who will take Wade to Contention City and transport him by train on the 3. ten to Yuma prison. Dan immediately accepts the job and so begins a tension filled few hours as Dan holds his captive in a Contention hotel room to wait for the train. And all the while staving off the efforts of Wade's men to free their boss as well as contend with Wade trying to psych him out with tempting bribes to let him go. Excitement reaches fever pitch when its time to leave the hotel and go for the train. But then just as Wade's men are closing in for the kill, and in a surprise move, Wade capitulates and actually helps Dan to get him aboard the moving train.

Performances are excellent! Ford has rarely been better! As Ben Wade he is roguish, cool and throughly likable. Heflin is great too! His Dan Evens looking almost like an extension of his Joe Starrett from "Shane" four years earlier. And Looking gorgeous is the beautiful Felicia Farr in a splendid cameo as the girl in the saloon. There is a lovely moment at the bar in the empty saloon when Wade is trying to seduce her ("Ye know ye look kinda skinny - but I don't mind a skinny girl if she's got blue eyes"). Poignantly scored and beautifully directed - the scene in close-up, as he kisses her, is both amorous and heartfelt and played out by two superb actors.

Providing a wonderful atmosphere to the movie is the music of composer George Duning. Duning was composer in residence at Columbia Pictures and scored most of their prestigious productions like "Bell,Book & Candle", "The Devil At Four O'Clock" and his best known work "Picnic" (1956) in which he pulled a master stroke by combining the tune Moonglow with his own love theme to great effect for the evocative scene where William Holden dances with Kim Novak. His music for 3.TEN TO YUMA boasts a lingering central theme. It is given lovely renditions throughout especially for solo guitar and distant solo female voice. Then with added lyrics by Ned Washington it was turned into a brilliant ballad and sung over the titles by the inimitable Frankie Laine.

Fifty years after 3.TEN TO YUMA an unfortunate revisionist remake was produced. It improved on the original NOT one iota and only served to emphasize how good the Delmer Daves classic really is!

Nearly a classic

[yilgarn · 7/10 · 15 July 2010]

I was accidentally given this movie instead of the 2007 re-make! And I am grateful. For modern students of cinematography the 1950s Western genre may initially seem somewhat arcane, but movies like this demonstrate how movies of that era reach for a higher plane, not just in terms of the craft, but philosophy as well. This effort is almost perfectly constructed, and worthy of a student's close analysis. It could have been 10 minutes longer, to develop the characters of Ford and Heflin, emphasise some of the sexual tension, and to develop the relationship between protagonist and antagonist. Perhaps some back story should have been implied, too, between the gang and its leader (civil war loyalty ?) And incidentally, I was amazed and pleased how briefly, intensely and satisfying was the connection between Ford and the barmaid.An amazing scene, of just a few minutes - which surely must have shocked adult audiences of 1957 (and passed over the head of children).

About that time

[kosmasp · 8/10 · 3 May 2021]

Usually I do try to watch original movies before I go ahead and watch remakes. In this case I was not aware of the original when I watched the remake. So hard to say how I would have viewed the remake, with that in mind. But I don't think I'd have liked it less. While this is the original, the remake did get quite a star cast as well. Maybe Glenn Ford is the one element that is the best in both movies ... still they both are good and whichever you feel is better in your view, so be it.

And yes Glenn Ford is so good at being bad, it actually makes you root for him. At least it is true for me. He seems to have some moral compass left ... or some form of humanity. But maybe I'm wrong and he is just deceiving. Whatever the case, he is the star of the movie in so many different ways. If you like western movies with a touch of High Noon to them (a real classic if there ever was one), this will float your boat.

Original Still The Greatest

[kayaker36 · 10/10 · 4 October 2007]

Long before it was re-made, I treasured this modest gem of a western.

From the first notes of its mournful, affecting theme to to the poignant finale it draws you in and keeps you riveted as the tension mounts. It accomplishes this by keeping to the Aristotelian unities: a single theme about a single protagonist on a single day. Yes, there is an obvious parallel to **High Noon**.

Though cast as a villain for the only time in his career, Glen Ford's natural likability shines through in the role of gang boss Ben Wade. Van Heflin's Dan Evans is Everyman--no hero but spurred to heroism by desperate circumstances and devotion to family. In contrast to Heflin's homeliness is the godlike physical perfection of the young Richard Jaeckel as the outlaw gang's second-in-command, smart, dangerous, utterly amoral yet loyal unto death to his boss.

There is not a bad performance anywhere. But I must single out Felicia Farr as the lonely barmaid who gives Ford a last, quick good time, and craggy-faced Ford Rainey as a town Marshal with a plan.

With its mix of deep focus shots and closeups of the actors' faces, the cinematography was the obvious inspiration to Sergio Leone in his spaghetti western series.

photography by charles lawton is amazing

[Sleepy-17 · 8/10 · 18 July 2005]

I normally don't comment on movies others have already commented on, but this one's been really bother me because no one really noted just how outstanding the cinematic compositions are. They're eye-poppingly gorgeous and remind me of a western Citizen Kane. In some scenes the Deep Focus technique (lots of hot light so that the background is in sharp focus) is outstanding. The artistry is almost out of place in this exciting but preposterously noirish western. There doesn't seem to be anything else in Lawton's repertoire (maybe parts of Two Rode Together?) as good, but director Daves' respect for good pictorials is evident in most of his efforts. It's a great collaboration, and a pretty good picture that's not as great as the sum of its parts. *** Most of the other comments rightly comment on Glenn Ford's cool acting. Isn't it time for him to get a Lifetime from AFI?

"I guess they figure a storm is blowin' up, huh, Dan?"

[ackstasis · 7/10 · 4 February 2008]

Wherever possible, I like to see the original version of a film before I see its remake. Set to attend a screening for James Mangold's '3:10 to Yuma (2007)' the following night, I quickly decided to rent Delmer Daves' 1957 original, which was adapted from a short story by Elmore Leonard. Unsurprisingly, given its source, the film's plot is extremely simple, unconcerned with the need for a large cast of characters and complicated story lines. After a fatal gold robbery, infamous outlaw Ben Wade (Glenn Ford) is captured in a small town, and a group of honest volunteers agree to transport him to Contention to board the 3:10 train to Yuma Prison. One of these volunteers is Dan Evans (Van Heflin), a poverty-stricken small-time rancher with a thirst to proves his worth to both his wife and two sons. Meanwhile, Wade's loyal gang ride in hot pursuit of their leader, intent on rescuing him and avenging his capture. As the tension mounts, and loading Wade onto the 3:10 train begins to seem impossible, the other volunteers rationally retreat from their task, with only Evans staying true to his word.

It's only recently that I've begun to concern myself with the Western genre, but '3:10 to Yuma' seems an ideal example. The story's brilliance lies in its own inherent simplicity; the interactions between the two main characters form the picture's emotional core, and it's the incredible depth of these interactions that allow the film to rise above its B-movie foundations. In one case, at least, the minimalism of the film's production allows for the perfect atmosphere in the story's climax, as Wade's bandits begin to surround the hotel room in which their leader is being held. Even before the gang rides into town, the streets have become almost completely vacant; Contention has become a ghost town. It seems likely that this was partly a result of the film's low production budget – money spent on extras was probably considered money wasted – but the escalating sense of foreboding created by the chillingly empty streets is perfect, as though, indeed, everybody in town figures that "a storm is blowin' up."

Both Glenn Ford and Van Heflin do a very good job considering the film's straightforward plot, and it is their believable characterisations that prove the picture's greatest asset. At first glance, Ben Wade appears obnoxious, sarcastic and detestable, but reveals more likable trait – and even a streak of nobility – as the film progresses. Likewise, Dan Evans is portrayed as a conservative man {whose logical unwillingness to take risks might easily be misattributed to cowardice}, one who only agrees to escort Wade in order to claim the much-needed $200 reward. However, as the situation continually progresses towards guaranteed disaster, and all the other volunteers back down regretfully, Evans refuses to surrender. In his captor's inflexible perseverance, and unflinching integrity, Wade discovers a man that he himself respects and admires, and the mutual understanding – however tentative – that the two men develop proves crucial in the picture's final moments.

Tense, well-directed with excellent performances and atmosphere...

[Nazi_Fighter_David · 8/10 · 3 June 2005]

Delmer Daves has certainly proved himself as one of Hollywood's most talented directors—at least in the Western genre... His "3:10 To Yuma" echoes "High Noon" in some respects, but to make frequent on the similarity misses the point of a very fascinating picture…

"3:l0 to Yuma" is a classic among suspense Westerns, a serious examination of the nature of heroism of an ordinary man in control of a dangerous outlaw... It is fundamentally a distinguished psychological drama played out in the claustrophobic setting of a hotel under mental and physical siege… The film deals with two entirely opposing characters locked together in an isolated room where Daves' camera moves ceaselessly on their course of action...

After a holdup and the killing of a coachman with a gold shipmen, Ford is captured in a saloon, where he is wasting his time in amorous advances with a lovely barmaid (Felicia Farr).

But how to hold him? For his gang, who have made their getaway, will most likely be back to claim him... Ford is sure of this, as his care-free indifference makes it easy to see… The cowed citizenry (echoes of the Zinneman picture) become equally certain… Someone has got to get him out of local circulation and then on to a train to Yuma where he can stand trial…

Who will undertake such task?

The best offer comes from an austere farmer motivated by a severe desperation... Struggling Heflin sees in the 200 dollars his last chance of salvation as his means of subsistence are too little, and the prolonged drought is killing his cattle... For him, there is no other option...

So Ford expects his gang to follow him, and eventually they do... Richard Jaeckel—'the man who slept on the sofa' was how everyone remembered him in this picture—is sinister evidence of discovery…

In a hotel room, therefore, they sweat it out… But Van Heflin does most of the sweating, trying to cope, until the train is due, with a situation beyond his experience… For Van Heflin is not even a true professional, as Will Kane was in "High Noon" (who had somewhat similar train-waiting problems), but an amateur, having to deal with Ford's every physical and psychological ruse; having, in the last resort—finding some sort of moral obligation in the job—to resist temptation...

The outlaw, an intelligent man, continually seeks for a way that will give him his freedom, but becomes deeply fascinated by his 'keeper'. What kind of creature is this who toils on some miserably piece of land, cares so deeply for it, gets no fun at all out of life and seems so greatly incorruptible?

Whatever he is, he's the complete antithesis of Ford… You get the impression that the outlaw is confronted by a being from another planet… Who wouldn't be intrigued?

Van Heflin could so easily have repeated his leading homesteader role in Shane, but, in fact, he adds another layer to him…

Ford, in one of his best performances, and he has given many, gets the utmost from his greatest gift...

The women in the picture, Felicia Farr and Leorna Dana, make a solid contribution to its depth…

With a nice musical score, this great psychological Western draws its drama and power from the interaction of two excellent characters rather than gun blazing action...

Psychotic killer or gentleman thief?

[erskine_fincher · 3 June 2003]

I've liked this movie for a long time. Watching it last night, though, it finally occurred to me to wonder about the character played by Glenn Ford. I don't really understand what motivates him, or his gang.

Some people have commented that the closing scene is unbelievable, but I think that's only true because we never get a fix on Glenn Ford's character. Is he a psychotic killer, or is he a gentleman thief?

The psychotic killer label is supported by his actions in the opening scene of the stage coach robbery. He didn't even try to talk himself out of that situation, even though the driver was one against twelve and couldn't carry out his threat without being gunned down instantly. It's also supported by the fear that his name strikes into the hearts of all the townspeople. A man doesn't generate that kind of fear by simply robbing stage coaches. Obviously, he and his gang have done a lot of killing.

The gentleman thief label is supported by his complete lack of bullying characteristics. In every other situation of the movie except that opening scene, he uses his charm to try to get around people. He doesn't attempt to run roughshod over them. That completely contradicts the image of a guy who shoots first and asks questions later.

As for his gang, they show an extraordinary amount of loyalty to him and each other, which makes the shooting during the stage coach robbery that much more unconvincing. Why would they be loyal to a leader who didn't even try to save one of his own? Maybe that was just an anomaly. Ford tells us later in the movie that his gang will always go to extraordinary lengths to save one of their own, and they do just that to try to free him. Yet, at the end, he chooses to save the life of Van Heflin rather than go with his gang. Okay, so he decided that Van Heflin was a good guy worth saving, even if it did get his second in command killed. I don't mind that. What bothers me is, why is he so confident that, having turned his back on his gang, they are going to try to rescue him again in Yuma??? If I'm in that gang, he's made his choice and he can swing for it.

A good reflection of the "oaters" from the 50s. Holds the attention!

[Bmack4 · 7/10 · 15 February 2008]

I would have given this older version of "3:10 To Yuma" a bit of a higher rating if I had not recently seen the Russell Crowe feature, released 50 years later. Oh, it's all there ... if you are in the neighborhood theater in 1957. All that's needed is the popcorn. However, Glen Ford just doesn't quite measure up to the same character as portrayed by Russell Crowe, in the 2007 epic. This reference to Mr. Ford may be a little unfair. He was one of our better actors, but was, to a point, restricted by the company that had him under contract during the 50s: Columbia Pictures. In 1957, Columbia was just beginning to get into the game of making motion pictures with bigger and better budgets, although it didn't see fit to present this film in color, which may have been a good loot-saving decision for Harry Cohn and his tight fist (Mr. Cohn was the head of the studio, at the time). The black-and-white format presents a perfect atmosphere, thanks to the good direction of the talented Delmer Daves.

Van Heflin, still under-rated today for the great performances he gave us during his relatively short film career, is top notch in this western. The beautiful Felica Farr (Mrs. Jack Lemmon,in real life)is also in grand form during the short amount of time she is on-screen.

All-in-all, this motion picture is a winner --- if you haven't seen the more recent release under the same title.

Another great western from Elmore Leonard

[shhazam2 · 9/10 · 1 November 2001]

This movie was enjoyable to me before I knew anything about Elmore Leonard's writings.

The underlying story is made into a very watchable movie by the director and involves a ruthless but insightful gunman being held for subsequent transport by train which will take him to prison. The job of guarding him is taken on by reluctant guard. This temporary guard is a civilian who takes on the job only because he desperately needs the money to save his farm and family.

Typical of Leonard stories, the main characters have strengths and weaknesses not at first evident but when these traits become evident they are significant factors in the outcome of the story.

It is an intelligent movie which is great to watch. I highly recommend it.

Not a bad film

[nickmat-2 · 6/10 · 24 February 2008]

This film is OK though not brilliant it is worth watching. It is much better than the 2007 remake which towards the end became a total caricature of a film and also focused needlessly long on the transportation of Wade, which in this original version was done in a few minutes of film time.

SPOILERS FOLLOW: The end here is though quite unconvincing, unnatural and sudden. How Evans took Wade successfully through the gauntlet of his gang that was there eager to free him, it was some luck getting out of it alive, but the worst let down was the way Wade went up on the train willingly when he could have easily escaped at that point as the train was already leaving. Just refuse to board it.

The excuse he gave "I am doing it so as not to owe you anything" is laughable since he basically chose going to the gallows or at least to a long sentence in prison instead of freedom and in real life things like that simply don't happen.

But otherwise the acting was good and the psychology of captive and captor very interesting though it made Evans too much of a hero, Butterfield even releasing him from the duty of delivering Wade yet he chooses to stay on ignoring wife and children.

Room 207 and the 3:10 To Yuma.

[hitchcockthelegend · 8/10 · 16 November 2009]

Van Heflin plays rancher Dan Evans whose family and livelihood is at breaking point due to a devastating drought. Needing money fast, Evans gets thrown a financial lifeline when a reward is offered to escort a recently captured outlaw, Ben Wade (Glenn Ford), on to the 3:10 train to Yuma prison. But as Wade's gang closes in to free the shackled outlaw, and the clock starts to tick down, Evans finds himself torn between a sense of social duty and an easy option courtesy of Wade's mind game offer.

Based on a story by Elmore Leonard, this is a tight and tense Western that harks to the wonderful High Noon five years earlier. Directed by Delmer Daves, 3:10 to Yuma sees two of the Western genre's most undervalued performers come together in perfect contrast. Heflin's Evans is honest, almost saintly; but ultimately filling out his life with dullness and too much of a safe approach. Ford's Wade is the other side of the coin, ruthless (the opening sequence sets it up), handsome and very self-confident. This coupling makes for an interesting story-one that thankfully delivers royally on its set-up. As Wade's gang closes in, led by a sleek and mean Richard Jaeckel, Wade toys with Evans, offering him financial gain and gnawing away at him about his abilities as a husband, the tension is palpable in the extreme. Nothing is ever certain until the credits role, and that is something that is never to be sniffed at in the Western genre.

The comparison with High Noon is a fair one because 3:10 to Yuma also deals with the man alone scenario. A man left alone to deal with his adversaries and his own conscience; money or pride indeed. Daves' direction is gritty and suitably claustrophobic, with close ups either being erotically charged {watch out for Felicia Farr's scenes with Ford in the saloon} or tightly wound in room 207 of the hotel; where Heflin & Ford positively excel. His outdoor work, aided by Charles Lawton Jr's photography, also hits the spot, particularly the barren land desperate for water to invigorate it. While the piece also has a tremendous George Duning theme song warbled (and whistled by Ford in the film) by Frankie Laine. Great acting, great direction and a great involving story; essential for fans of character driven Westerns. 8.5/10

Footnote: The film was very well remade in 2007 with two of the modern era's finest leading men, Russell Crowe & Christian Bale, in the dual roles of Ben & Dan respectively. One hopes, and likes to think, that they remade it purely because it was such a great premise to work from. Because Daves' film didn't need improving, it was, and still is, a great film showcasing how great this often maligned genre can sometimes be.

Okay, But I'm Curious About The Remake

[ccthemovieman-1 · 6/10 · 2 September 2006]

Here's another classic I found riveting when I first saw it and was enamored with most old films. Now, years later and a bit more critical, I found the boring very boring. It's just too slow-moving.

However I do appreciate two big things in here: the acting and the cinematography. It was just the story was so--so at best. It's no surprise the acting was good with the recently-departed Glenn Ford in the lead, a man who almost always gave a great performance, plus Van Heflin and Felicia Farr. The latter was never a big "name" but a classic beauty, I thought.

Ford and Heflin play very realistic people. Their conversations were interesting. Bad guy-Ford sounded just like the Devil trying to sweet-talk Heflin into letting him go. The finale is a bit hokey is that one of the bad men should have shot Ford. However, the very end of this movie - without spoiling things - is unexpected and very good.

Despite all these complements, the second time I watched this it just dragged too much. Part of that might be I am more used to watching faster-moving modern films in the last five years.

NOTE: Speaking of that, I see where they are re-making this film with Christian Bale and Russell Crowe playing the two leads! Wow, those are two very intense actors so I check that film out in 2007, or whenever it's released.

the many absurdities of 3:10 to Yuma

[Gorbo · 3/10 · 10 July 2007]

This film is well acted with a reasonably good look and feel. It's even well written in terms of interesting dialog and character complexity. The problem is (and it is a serious problem) that the plot, character motivations, and action are ill conceived and never credible. Ben Wade (Glen Ford) is a charismatic and ruthless thief and murderer who charms the woman and disarms the men. Dan Evans (Van Heflin) is a simple farmer with a sense of justice who is hired to transport Wade to Yuma in secret and under threat from Fords gang of thieves. The two engage in a psychological battle as they wait in a hotel room for the 3:10 to arrive.

All that sounds great, but credibility is the issue. The script is too clever for it's own good. To start, Wade and company actually report their own crime after having committed the robbery without hiding their identities. No explanation is even offered for this odd behavior. Once caught (and he is too easily caught), Wade is far too smug in his presumption that his gang will save him. Evans becomes inexplicable dedicated to his task, willing to risk his own life against impossible odds even after he is released from his commitment.

Even so, Evans is inexplicably deferential to his own prisoner. He rolls and lights cigarettes for Wade, repeatedly, without Wade having asked for the favor. Evans evens tell Wade that he has nothing against Wade and is only doing his job. But Evans, seemingly so concerned with justice, actually saw Wade kill two men. Evans contradicts himself in both word and deed. At one point, Wade rushes Evans and is knocked back. His explanation: "I wanted to see if you would shoot." Please. The film is an odd and failed combination of incompatible dynamics. While it assumes the audience is intelligent enough to be fascinated by the psychological battle, it also assumes we're not smart enough to question the many absurdities. In the end it's a real eye roller.

Tense little thriller that stands out for it's simplicity and it's strong characterisation

[bob the moo · 16 March 2002]

Farmer Evans looks to avoid conflict and work his farm in peace, when he witnesses a stage coach being held up he doesn't get involved. However due to drought and debt threatening his farm, he takes the job of escorting the leader of the gang to Yuma and prison when he is caught. The sheriffs fool the gang into thinking that Wade has been taken by coach and Evans and Wade stay in a hotel room until the train to Yuma. However with Wade's gang getting closer, the clock ticking and Evans' posse deserting him man by man the stakes rise.

It's a western but it could easily have been in any setting if it was done this well. The story is clever but really picks up once Wade is captured – in both Evans' home and in the hotel room, the dialogue becomes clever and meaningful. The story is kept tense (with Evans getting increasingly sweaty) despite being very talky. Wade works Evans in a Machiavellian flow of dialogue that visually gets to him throughout. However once it is clear that honour is important over money the countdown to the tense walk to the train station is on.

Heflin is great as the farmer who takes a stand only to see pride swell up in his family, in a way he respects the criminal for taking risk and being brave in contrast to his middle road lifestyle. Ford is effortlessly brilliant as the criminal blessed with charisma and charm with a dangerous streak underneath – in one key scene he sets out Heflin's character when he easily casts a spell charming Heflin's wife and sons. However beneath the dialogue he is slightly jealous of the farmer's settled life and this adds spice to the relationship between the two.

Overall this is a fantastic western, but if it was set in the modern day it would be a brilliant cop thriller, or in space, a brilliant sci-fi. The key is the central relationship between the two men – here it is perfect and the tension that builds towards the fateful walk to the station is gripping.

A tough act to follow

[lastliberal · 8/10 · 11 August 2007]

Christian Bale and Russell Crowe are going to have to perform feats of magic to beat this film. There is no doubt that they have picked one of the toughest westerns to beat in their remake.

There is shooting, but this is not a shoot-'em-up western. It is a thoughtful game of chess between a ruthless outlaw (Glenn Ford) and a farmer (Van Heflin). To see Ford, who we lost last year, try to buy Helflin (Johnny Eager, Shane), and see Heflin grow in courage was magnificent.

Every one else fades as these two play their game. The ending was terrific. I am anxious to see if they change it.

Van Heflin's best

[bkoganbing · 10/10 · 20 September 2004]

This is one of the best westerns ever made, a good blend of subtle psychology and action with some taut editing. There isn't one moment of film wasted in this one.

I also believe that this is Van Heflin's best screen performance. His Dan Evans is an everyman in the west. A rancher struggling to get by and support his family, he happens to be a dead shot and together with that and his need for money, he agrees to take outlaw Ben Wade to Yuma Territorial Prison.

Glenn Ford's Ben Wade is a complex man. He's an outlaw and a killer, the first few minutes of the film establish that. But he's tired. He can easily get away. But the sight of Felicia Farr at that saloon, makes him pause and linger when he should be skedaddling with the rest of his gang. They shouldn't have been stopping at the saloon in the first place. But Ford needed some quiet time and his acting does convince you of his need for a breather.

Anyway Ford's nabbed and stage line owner Butterfield, played by Robert Emhardt offers a reward and Heflin needs the money. The only other one aiding Heflin is Henry Jones playing Alex Potter the town drunk. He's a comic character, when they stop at Heflin's ranch, Jones inquires of his two sons where Heflin might keep a jug handy. You laugh but Delmar Daves is very subtly setting you up for later heroics.

Ford and Heflin are together most of the film and they have good chemistry. Ford works on Heflin, he'd just as soon offer a bribe to get out of his fix and Heflin comes close to taking it.

The best scene in the film is when Heflin's wife Leora Dana comes after Heflin. She finds him hold up in a hotel with Ford handcuffed to the bed just after a shootout in which Henry Jones was killed. They talk, Heflin's not sure he's coming out of this and Dana tries to tell him to give it up. Earlier Robert Emhardt has also told him to give it up. But Heflin's sticking to his duty now. The comical town drunk has just been killed in a very brutal fashion for standing up for law and order and he couldn't look himself in the face if he shirked his responsibility.

Remember Heflin is no John Wayne type hero. He's your everyman citizen taking on responsibility for his community's safety. He and Dana play this beautifully and if you don't get an emotional response you are made of stone.

Van Heflin had already gotten an Oscar for Johnny Eager. But I think his performance here is even better. Why he was overlooked in the Academy sweepstakes in 1957 is beyond belief. It's Heflin's film and it's a great tribute to a very underrated actor.

Not a particularly deep western, but more complex than it had to be...

[moonspinner55 · 7/10 · 18 September 2005]

Not so much a suspenseful western as it is a character-study between two men at odds: Glenn Ford is the cunning, quiet bank robber, Van Heflin the rancher who takes on the task of trying to bring Ford in. They don't exactly grow to be friends while holed up in a hotel room, but they do come to understand the complications of their situation. There's much dialogue which takes some time cutting to the heart of the matter, but director Delmer Daves gives the downbeat proceedings a romantic grandeur, and the look of the film is probably more striking than the story. Both Ford and Heflin are terrific, but this isn't a western with deep-seated emotional issues (there are psychological undertones which never quite surface). However, it is more involved and absorbing than one might expect, featuring evocative black-and-white cinematography by Charles Lawton Jr. and a stirring music score by George Duning. *** from ****

A classic suspense film that works both within and beyond its 'western genre'.

[information-22 · 10/10 · 3 March 2006]

A well crafted film. Superbly paced, composed and edited with hardly a frame out of place. From the very moment the film hits the screen with the 'Columbia' statue and haunting soundtrack you are held throughout. The lead actors, Glenn Ford and Van Heflin are perfectley cast with strong support from Leora Dana, Henry Jones, Robert Emhart, Felicia Farr, Guy Wilkinson et al. This is a film when all the elements that make a good movie - script,music,photography,acting,editing,direction - come together as one and excel. Delmer Daves,Director, has clearley been influenced by other film-makers; there appear to be brief references to Battleship Potemkin and Bicycle Thieves among others. 3.10 to Yuma is a classic suspense film, that works within and beyond its 'western genre'. It remains to be seen what James Mangold, Director(Walk The Line etc.) and his team make of a proposed re-make scheduled for 2007. They will have to work very hard indeed to come close to the quality of the original production. A good start would be to retain the Frankie Laine soundtrack performance.

Tense and Entertaining.

[rmax304823 · 6/10 · 24 March 2018]

Van Heflin is a hard-up small-time cattleman hired to take outlaw Glen Ford to the town of Contention and see that he boards the train to Yuma Territorial Prison, but never mind all that.

Heflin's character carries one of those bland workable names like Dan Evans, but Glenn Ford, the prisoner, is called Ben Wade. My own scholarly research shows inarguably that no cowboy, outlaw, or gunslinger has ever carried the name of Wade, Clay, Matt, Yancey, or Ringo. As a matter of fact, the most common names among cowboys were Governeur, Montmorency, Noble. The details are in my manuscript, "Onomastics of the Post Civil War West", never published and never will be.

Back to less important matters. It's a nicely structured narrative. Can the upright Heflin get the smirking Ford to Contention before Ford's gang of goons sees to his release? Heflin takes the job out of desperation. He needs the money badly because the draught is starving his stalwart wife and two brashly honest young sons. The viewer can relax as the clichés follow one another. The comic sidekick is murdered. Heflin's horde of enthusiastic supports drop out one by one as the odds against them become more clear.

It's one of those westerns in which you have to admire the attentions of the studio barber and his team. Heflin: down at the hells rancher. Ford: gang leader on the lam. Yet -- even in choker close ups -- not a single whisker shows up, so that they look like Hollywood movie stars freshly groomed rather than dusty residents of the Wild West.

It is, as I said, entertaining, enlivened by Ford's taunts and wisecracks. Some reviewers claim it's too slow. I would agree, but only in comparison to today's films, all of which resemble the inside of a whirling kaleidoscope.

A Classic Western

[claudio_carvalho · 8/10 · 20 August 2011]

When the charming outlaw Ben Wade (Glenn Ford) is captured after the heist of a stagecoach, the stage line owner Mr. Butterfield (Robert Emhardt) offers US$ 200,00 to the man that escorts the bandit to the city of Contention to take the 3:10 PM train to Yuma to be sent to trial. The rancher Dan Evans (Van Heflin) is broken and needs the money to save his cattle and support his family and accepts the assignment. During their journey, Dan saves the life of Ben when a vigilante tries to execute the criminal. Meanwhile Ben's gang split to find where Ben is and then rescues their boss. When they find that Ben is trapped in a hotel room, they put the place under siege and Dan can not find any man to help him.

"3:10 to Yuma" is a classic western from a wonderful time when honor was an important value in a film and even outlaws could have a code of honor. In the present days, it would be hard to believe why Dan Evans is incorruptible and does not accept Ben's bribe. Glenn Ford performs a charismatic outlaw and the moral duel with Van Heflin's character is fantastic. My vote is eight.

Title (Brazil): "Galante e Sanguinário" ("Gallant and Bloodthirsty")

Decent western

[grantss · 6/10 · 18 January 2015]

A decent western. Not great - far too many implausibilities in the plot, especially the ending - but reasonably entertaining nevertheless.

It is the constant battle, moral and mental, between outlaw Ben Wade (played by Glenn Ford) and his captor Dan Evans (played by Van Heflin) that make this movie interesting. So many opportunities for Evans to do something different, something unethical, but will he take them?

It is the performances of Ford, especially, and Heflin that make this movie watchable.

I enjoyed the 2007 remake more. Wasn't brilliant, but flowed better and while it had some plot holes and implausibilities, they weren't as bad as in the 1957 movie.

A film about honour as well as a psychological drama

[bwilson-308 · 10/10 · 24 December 2005]

This really is an excellent film. The standard of the acting, the psychological interplay between the van Heflin and Ford characters, the tension (similar to that in High Noon) and the photography have all been commented on. All those aspects are first rate.

It is, however, also a film about honour - and interesting from this point of view also. Van Heflin's struggling farmer begins the film by justifying his having to surrender his cattle to the Ben Wade gang if he is not to be shot. Throughout the film his stature develops. His wife later talks of the pride his sons feel in him as the 'man who captured Ben Wade'. Towards the end of the film money is not the reason for his wanting to bring Wade in. When the town drunk has been killed, van Heflin's farmer realises that morality, justice and honour demand that the job be finished (despite others' protestations) and Wade be made to face trial.

I do not agree that the ending is really a weak point. When I first watched the film I misheard Ford's Ben Wade character to say 'I've broken out human before' instead of 'I've broken out of Yuma before'. I genuinely think that some sort of strange bond has developed between the captive Ben Wade and that, in a split second decision of human compassion, Wade recognises the worth of his struggling farmer guard whose life has been that of loving struggle to support his wife and family. He therefore acts to save him. It could then be argued that the theme of honour and redemption has extended to include Ben Wade's outlaw.

Professionally made western surpassed by the remake

[Leofwine_draca · 7/10 · 5 June 2016]

3:10 TO YUMA was a difficult film for me to watch because it's one of those rare times that I've seen the remake, starring Christian Bale and Russell Crowe, before the original. The two films have plots that follow one another closely, so they're virtually indistinguishable, although the remake adds in extra action sequences that weren't in this '50s western.

This original turns out to be a surprisingly decent little fable with strong black and white cinematography and good performances from the two leads. Glenn Ford is a likable ne'er-do-well and Van Heflin puts in a commendable turn as a man of principle. The plot is quite straightforward, but it lends itself well to an undercurrent of tension that runs throughout and you're never quite sure what the outcome will be.

I suppose you could argue that this version of the story is a little slow in paces (that scene in the hotel room seems to go on forever) but it's still above average and well made by genre standards and a film that's difficult to criticise too much.

Well made as well as frequently illogical.

[planktonrules · 5/10 · 16 January 2015]

Years and years ago, I saw "3:10 to Yuma" and loved it. However, seeing it about 30 years later, I am struck how many illogical plot elements there are in the film--too many to make this a truly memorable western.

When the film begins, Ben Wade (Glenn Ford) and his gang are holding up the stage. In order to make this easier, they've stampeded some of a local rancher's cattle into the path of the wagon. Dan Evans (Van Heflin) can't do anything to stop the men from doing this with his cattle, as it's just him and his two small sons against a dozen vicious killers. Additionally, Evans is a pragmatic guy and doesn't want to be a hero.

Later, after Wade is captured, the local Marshall wants to take the gang leader into Yuma to be tried for murder and robbery. However, there's a problem--the town is minuscule and he needs help. One of the guys he enlists is Evans. While Evans is hesitant to risk his life, he's about to lose his ranch--and the reward money could sure help him.

So far, this is a very good western. The dilemma is interesting and Evans is an interesting sort of anti-hero. However, as the film progresses many problems are very noticeable. First and foremost, Wade tries several times to escape and even nearly kills several people in the process. So why not just shoot him?! After all, if a prisoner tries to escape, you shoot him. And, with his gang of thugs wandering about, you really cannot see why they didn't kill the murderer. It isn't like there's any doubt that he is a killer-- he admits it and was witnessed doing the killing. So why allow him to repeatedly try to escape and threaten to have the various posse members killed?! Kill the jerk!! Later, when his gang does arrive and they start killing off the posse members, STILL Evans doesn't shoot Wade...and you wonder why!! To make matters worse, the final scene shows Evans hopelessly outnumbered and surrounded--and then Wade does something that makes sense only to a script writer!! No criminal in the history of mankind would ever have done what Wade then did...NONE! Highly illogical.