3:10 to Yuma

If I was the rancher at the beginning there would've been no movie as I would have probably been eaten by a wild pack of sheep in the wild wild west and by eaten I mean bitten really hard on the hand , hard enough for me to give up ranching and sit in a saloon all day talking mad shit about air conditioning and toilet paper while cowboys spit on me. I don't do well in the heat is what I'm saying here.

Ford's sonofabitch is a primal manifestation of Biblical Temptation: persuasive, subjectively justified, intriguing, but also quietly rooting for you to ignore him and follow your own conscience. Daves' direction elevates what could be a rote Western by imbuing each scene with a Noirish desolation - here, a man shot in the back and hung by his neck in the background is replaced by a desperate wife in the foreground. You see the pores on their foreheads and wonder why the rain comes.

Solid, especially through the middle, but I'd say the remake is actually slightly better. The ending here is a bit of a shrug.

A real western of true grit featuring people getting shot in the face, subdued acting, and only one fruity ass theme song. Didn't even mind the relentless musical score that manages not to suck the gravity out of every tense moment, like it does in most movies of the era. And Glenn Ford holds the whole thing together with his perfect line deliveries.

Very solid western drama with great performances from the two leads and a memorable theme song. Great dialogue and tension, but somewhat of a disappointing finale compared to the remake due to the black-and-white nature of Hollywood storytelling during that period. Moves along at a nice pace and is well shot - there are much worse ways to spend 90 minutes.

One of the few pictures that ever dreamed of Ford as an articulate villain - and the experiment works so well it's a marvel more people didn't try him that away. In a lot of this you can feel the natural inquisitiveness of Leonard, waiting for the train and wondering if you were ever going to get a glass of cold water again. Movies and trains have usually like each other. This is one of the great talking westerns. The remake had nothing of value from the original.

Almost succeeds in being an interesting look at the myth of heroes and outlaws. The farmer is driven not by a sense of justice, but by necessity and trepidation, and the criminal has a strange sense of honor and is prone to sentiment. Unfortunately by the end it seems to sacrifice these themes for moral transcendence and a black-and-white view of the world. Still, it's acted brilliantly and shot neatly, making it worth a watch.

Uses the Western setting for a character drama and it's really interesting despite having very little action. It's all in the tension and Ford's cockiness combined with everyone else's palpable trepidation makes it work.

Soild Western, but completly overshadowed by its high quality remake.

While a mass majority of film-critques haven't seen nor heard of this, This is a very well-made, tough as steel Western phenomenon that excels at all the elements that leads to a classic: acting (led by driving performances from the duo-casting of Ford and Heflin), script, score (with haunting, yet somewhat cheerful pieces of orchestra), editing and of course, cinematography. However, the crowd that has seen it worship it and helm it as the best ever made. Great, but not at classic status.

Classic western with some great dialog. It's age certainly shows in comparison to the remake, however. I'm glad I saw this version first.

The film takes the broader western sensibilities and offers a more grounded take. A smooth talking, nice, and even "quiet" villain as he himself says, pitted against a man who only gets involved by being dragged into the mess--off-ramps tempting him away at just about every turn. And yet, it ends up a portrayal of an equally quiet and determined heroism, where violence is eschewed in favor of cleverness--a provocative and less-traveled way of dealing with conflict, to be sure.

Solid western. Good performances from the two leads.

Glen Ford and Van Heflin are so good in this one. The smirking, sly outlaw and the stoic, realistic cattle rancher play off each other well and while it might not always seem like it, both of them have their own set of morals. While I wouldn't call it insanely thrilling, it's certainly an interesting ride + that theme song is epic. I loved how it ended, too.

Good premise; solid script; great final act... but I wasn't sucked in. Nor was I a fan of our swoon-inducing semi-antagonist; blurry-eyed women, hazy visuals, sickly strings slide about the speakers. It makes no difference to Miss Barmaid when she clocks he’s a murderer, does it? ~ I don’t know why, but I thought this starred John Wayne. Actually – I do know why. John Wayne is in every classic western. I’m sure he was just hiding behind a tumbleweed somewhere.

Two good central performances drag it along, I honestly prefer the remake to be honest.

Laid-back, almost sleepy pacing hurts this at first, but once it's down to Ford and Heflin doing a mano-a-mano, the sparks start to fly and the film starts to hum, with Leonard's influence permeating the scenario and existential musings between the two men. Ford (seeming more like an underplayed John Wayne here) is the highlight, clearly having fun as the "Devil" tempting Heflin's weak man, but the whole cast perform well.

A credible character study told as a western with strong performances by Ford and Heflin.

A great morality tale.

Mostly enjoyable Western with a complex decision at its heart: Do the right thing or walk away? While watching, it was engaging, but afterwards, I wondered about the many plot holes (and the not-satisfying ending). Personally, whenever I re-read the Garden of Eden story, I'm going to think of Glenn Ford's seductive manner as the snake.

On the one hand, the ending is shit. On the other hand, it constitutes such a massive shift in tone and message that it must have been forced upon the writers by those who would likely only finance it under that condition, as has unfortunately been the case with many other films. It must be, for else the stupidity of the writers can't be forgiven in the extent to which I do now.

A good movie that is slightly hurt by a somewhat corny ending. Ford and Heflin are great and have very good chemistry. I like the remake more, but this is still a quality film would recommend to fans of Westerns.

Just kind of ends abruptly but Dan Evans' complex is pretty interesting.

excellent widescreen compositions

Overall Enjoyment: 30/40, Plot/Themes: 15/20, Cinematography/Direction: 15/20, Acting/Writing: 13/20

Great characters. Great dialogue. Great cinematography. In short, a great movie.

read kent jones' impassioned defence of this here: https://www.criterion.com/current/posts/2766-3-10-to-yuma-curious-distances

Was quite fond of it until the ending. That killed it for me.

soygun, cinayet, kuraklik, kanun kaçagini kacirmak, soygun çetesi,

I didn't like Glenn Ford, especially his lover portrayals with Rita; but the antihero role of this movie perfect suits him. With its' theme music and the song, we can say that Yuma is the little brother of High Noon. and of course, better than the remake. 3.10/5!

A classic film the write up said. Yeah,whatever

Everything a classic western should have - gorgeous cinematography, catchy theme music, solid characters and hard-boiled suspense. It also has pitch-perfect tough guy dialogue, most of which I'm guessing comes directly from Elmore Leonard's typewriter. The remake wasn't bad either from the little I remember, but who needs it?

A bit flawed, but overall a fine western. Heflin and Ford make fine leads.

Even though remakes are the work of Mr. Lucifer, the Mangold version does improve a lot of things from this half-hearted original. It's still pretty fun - in the same way Bonanza is enjoyable a lazy Sunday morning.

Glen Ford is amazing.

The remake is so much better. But this was still good.

This was a good character driven psychological drama wrapped up in Western clothes.The mind games Ben Wade (Glen Ford) played with Dan Evans (Van Heffin) really take this from an average Western to a classic of the genre.

A gripping Western full of suspense and character and two excellent performances by Heflin and Ford.

Just watched this for the first time, I'd seen the remake already. I was into the movie for almost the entire thing and then the climactic walk to the train was a disappointment. The phycological torture that Ben Wade puts Dan through was fantastic. Then the ending just plain sucked, and I did not buy into his sudden changed heart. A great 80 minutes followed by a weak ten.

A decent western, fairly suspenseful, if sometimes hard to swallow, particularly the ending sequence.

Pretty good for a recent cowboy flick. I really liked the music, as well as the end.

Felicia Farr is kinda hot.

I watched this in anticipation of the 3:10 remake in '07, and was pretty enthralled by it. It's got a unique concept which really separates itself from other Westerns' standard fare. The two leads give solid performances. Most of all, if you enjoyed the more complex and superior remake, it's worth watching through this one to see how they flipped the original ending on its head.

although this is the original it is still very good and the storyline is just amassing

Alright for an old western, I guess.

Remake is so much better.

Great Western for the period, great Western now.

A nice, character-driven western

Heflin and Ford's strong as ever performances make this a classic showdown western. It carries on some of the questionably motivated and ambiguously good or bad characters that High Noon made possible, giving it more depth than many of the movies of its time. Really good!

The original film adaptation of Elmore Leonard's western story shares the same plot framework with its recent descendant and a few scenes play out almost identically. Yet it also serves as an enlightening lesson in how Hollywood filmmaking has changed in fifty years. There's a clear contentment to let the drama and conflict play out quietly between the two main characters. Ample time is turned over to their psychological parrying, which adds weight to the final moments.

A surprisingly psychological-thrillery Western. Glenn Ford is perfectly charming and affable, making him seem even more like the Devil Himself when he starts to get inside other people's heads. Tense stuff.

OK Western. Finale shot in a confusing way to conceal how noncredible it is