Generating Preview ...
Generating Preview ...
By continuing, I affirm that I am at least 13 years old and have read and agreed to the terms of service and privacy policy.
Already have an account? Sign in!
Connect with
or Sign in
By continuing, I agree that I am at least 13 years old and have read and agree to the terms of service and privacy policy.
Don't have an account? Sign up!
Martin Ritt, a master of character-driven dramas and gritty realism, crafted a body of work that continues to resonate with viewers. His films, often focusing on complex social issues and the human condition, delve into themes of conflict, ambition, and the struggle for justice. From the simmering tensions of *The Long Hot Summer* to the harrowing trials of *Hud*, Ritt's films offer a profound exploration of the American experience through a lens of unflinching honesty. This rateable list presents a selection of Ritt's most acclaimed films, offering a journey through his career. We encourage you to engage with these cinematic masterpieces by rating each film based on your personal experience and appreciation. Your ratings will help shape a collective understanding of Ritt's legacy and highlight the enduring power of his storytelling.
"Edge of the City" (1957) plunges into the gritty realism of urban life, showcasing a compelling partnership forged in adversity. The film centers on Axel (John Cassavetes), an army deserter haunted by his past, who finds an unlikely ally in Tommy (Sidney Poitier), a proud and principled black dock worker. Their burgeoning friendship becomes a dangerous defiance as they stand united against the brutal machinations of a corrupt union official who seeks to exploit and control the working class. This raw and unflinching portrayal of racial tensions and economic exploitation was groundbreaking for its time. Martin Ritt's masterful direction in "Edge of the City" firmly establishes it as one of his finest works. Ritt possessed a remarkable ability to extract authentic performances and imbue his films with a profound sense of social conscience. Here, he uses the backdrop of the dockyards to explore themes of isolation, redemption, and the corrosive effects of power. The film's stark black-and-white cinematography and the palpable chemistry between Cassavetes and Poitier contribute to its enduring power. "Edge of the City" exemplifies Ritt's talent for crafting character-driven dramas that address societal injustices with courage and nuance, making it a quintessential piece of his impressive filmography.
"Edge of the City" (1957) plunges into the gritty realism of urban life, showcasing a compelling partnership forged in adversity. The film centers on Axel (John Cassavetes), an army deserter haunted by his past, who finds an unlikely ally in Tommy (Sidney Poitier), a proud and principled black dock worker. Their burgeoning friendship becomes a dangerous defiance as they stand united against the brutal machinations of a corrupt union official who seeks to exploit and control the working class. This raw and unflinching portrayal of racial tensions and economic exploitation was groundbreaking for its time. Martin Ritt's masterful direction in "Edge of the City" firmly establishes it as one of his finest works. Ritt possessed a remarkable ability to extract authentic performances and imbue his films with a profound sense of social conscience. Here, he uses the backdrop of the dockyards to explore themes of isolation, redemption, and the corrosive effects of power. The film's stark black-and-white cinematography and the palpable chemistry between Cassavetes and Poitier contribute to its enduring power. "Edge of the City" exemplifies Ritt's talent for crafting character-driven dramas that address societal injustices with courage and nuance, making it a quintessential piece of his impressive filmography.
Rate items to sort list. Click to browse.
Hud Bannon, the titular character of Martin Ritt's 1963 film, is a magnetic and destructive force, a living embodiment of alienated youth whose pursuit of pleasure and personal gain leaves a trail of broken relationships and moral decay. He's a charming but callous individual who thrives in a world of "takers and the taken," viewing the law as a mere suggestion to be "interpreted in a lenient manner." This amoral swagger creates intense friction with his principled father, Homer, and even corrupts his impressionable nephew, Lon, before the latter ultimately recoils from Hud's unchecked recklessness. The film's inclusion on a "Best Martin Ritt Movies" list is a testament to its masterful exploration of the American spirit and its darker undercurrents. Ritt, known for his nuanced portrayals of working-class struggles and the complexities of human nature, delivers a searing character study through Hud's anti-heroic archetype. The film dissects themes of familial discord, the corrupting influence of wealth and power, and the existential angst of a generation adrift, all filtered through Ritt's characteristic focus on character-driven drama and social commentary. Paul Newman's iconic performance as Hud further solidifies its place, offering a compelling and unforgettable portrait of a deeply flawed but undeniably fascinating man.
"The Spy Who Came in from the Cold" (1965) plunges viewers into the grim realities of espionage during the Cold War. British agent Alec Leamas, haunted by his past and the constant threat of defection, chooses to remain in the field for "one more mission." This perilous undertaking, however, proves to be a descent into a morally ambiguous labyrinth, pushing Leamas to his absolute limits as he navigates betrayal, shifting loyalties, and the very real possibility of his final assignment. This stark and unflinching portrayal of a spy's disillusionment makes "The Spy Who Came in from the Cold" a quintessential Martin Ritt film. Ritt was renowned for his ability to craft character-driven dramas that explored the human cost of societal pressures and political ideologies, and this adaptation of John le Carré's novel is a prime example. Ritt masterfully captures the bleak atmosphere and moral compromises inherent in the espionage genre, delivering a powerful and thought-provoking film that resonates with his consistent thematic concerns of integrity, sacrifice, and the crushing weight of systems upon individuals, solidifying its place as one of his best works.
"Sounder" (1972) is a powerful and moving cinematic portrayal of resilience and hope within the Black sharecropping community of Louisiana during the Great Depression. The film centers on the Morgan family, a loving and strong unit led by Nathan Lee and Rebecca. Their world is irrevocably altered when Nathan Lee is unjustly convicted of a petty crime and sentenced to a harsh prison camp. The heart of the story unfolds as Rebecca, determined to keep her family together and provide her children with a sense of continuity, sends their eldest son, an 11-year-old boy named David, on a perilous journey to visit his incarcerated father. This arduous trip transforms into a profound odyssey for David, forcing him to confront the harsh realities of his time and place, and offering him a glimpse of sanctuary with a dedicated Black schoolteacher along the way. Martin Ritt's masterful direction imbues "Sounder" with a deep sense of authenticity and emotional resonance, making it a quintessential entry in his esteemed filmography and a prime example of his commitment to exploring social issues through compelling human dramas. Ritt was renowned for his ability to extract nuanced and deeply human performances from his actors, and Cicely Tyson's portrayal of Rebecca Morgan is nothing short of iconic, earning her an Academy Award nomination. The film's unflinching look at the systemic injustices faced by Black Americans, coupled with its powerful depiction of familial love and the enduring strength of the human spirit, firmly places "Sounder" among Martin Ritt's best films. It stands as a testament to his skill in crafting narratives that are both culturally significant and emotionally impactful, showcasing his talent for bringing stories of everyday heroism to the screen.
In Martin Ritt's 1967 Western, *Hombre*, John Russell, a man estranged from polite society due to his upbringing among Native Americans, finds himself in a perilous situation. Disdainfully cast aside by his fellow passengers on a stagecoach, Russell's unique skills become their only lifeline when a band of ruthless outlaws attacks. Forced to confront both external threats and the prejudice within his own group, Russell's journey through the unforgiving desert becomes a testament to resilience and a powerful examination of societal judgment. *Hombre* stands as a prime example of Martin Ritt's directorial prowess in crafting compelling Westerns that delve into complex character studies and social commentary. Ritt masterfully uses the Western genre as a vehicle to explore themes of alienation, redemption, and the hypocrisy of established norms, all of which are central to Russell's arc in *Hombre*. The film's unflinching portrayal of prejudice, coupled with its gripping narrative and Paul Newman's commanding performance, solidifies its place among Ritt's most impactful and thought-provoking works, aligning perfectly with the director's consistent exploration of marginalized figures and their struggles for survival and acceptance.
In "Norma Rae" (1979), Sally Field delivers a powerhouse, Oscar-winning performance as the titular character, a southern textile worker grappling with unbearable factory conditions. Her frustration ignites a deep-seated resolve, leading her to become a pivotal ally for a visiting labor union organizer. Together, they embark on a challenging and perilous fight to unionize her workplace, a journey fraught with intimidation and hardship, yet fueled by a burning desire for justice and better treatment. This film stands as a crowning achievement in Martin Ritt's directorial career, embodying his consistent commitment to portraying ordinary people confronting systemic injustices. Ritt’s signature realism and empathetic approach shine through in "Norma Rae," allowing the audience to deeply connect with Norma’s struggle and the broader fight for workers’ rights. The film’s unflinching portrayal of industrial exploitation and the courage it takes to challenge it perfectly aligns with Ritt’s larger body of work, which often explored themes of alienation, social inequality, and the enduring spirit of the underdog, solidifying its place among his best films.
In Martin Ritt's searing drama "The Long, Hot Summer," the arrival of Ben Quick (Paul Newman) in the stifling Mississippi town of Frenchman's Bend sets the stage for a potent exploration of ambition, family secrets, and forbidden desire. Kicked out of his previous town under a cloud of suspicion, Ben finds himself at the mercy of the powerful patriarch, Will Varner (Orson Welles). Varner, a man who controls nearly everything in Frenchman's Bend, sees potential in the charismatic drifter, hiring him to work in his store. However, Varner's true motivations lie in his dissatisfaction with his own children: his lethargic son Jody and his unmarried daughter Clara. He believes Ben could be the catalyst to inject much-needed vitality into his stagnant family, envisioning him as a suitable husband for Clara, thereby securing new blood for his legacy. This film stands as a prime example of why Martin Ritt is celebrated as a master filmmaker. Ritt expertly navigates the complex emotional landscape of the Southern gothic setting, allowing the simmering resentments and unspoken desires to build with palpable tension. He extracts powerhouse performances from his cast, particularly Newman and Welles, who engage in a captivating power struggle that forms the backbone of the narrative. "The Long, Hot Summer" showcases Ritt's keen eye for character development and his ability to craft stories that are as much about the internal struggles of his protagonists as they are about the external pressures of their environment. The film's unflinching portrayal of social dynamics, class conflict, and the pursuit of happiness makes it a quintessential Ritt film, deeply rooted in his signature humanist approach.
"The Front" plunges viewers into the McCarthy era, a time of pervasive paranoia and political persecution in Hollywood. The film centers on Howard Prince, a Jewish-American small-time nightclub comic, who agrees to a lucrative but ethically fraught proposition: to act as a "front" for blacklisted screenwriters, submitting their work under his name. Initially driven by financial necessity and a desire to avoid entanglement with the blacklist, Howard finds himself increasingly burdened by the moral compromises and the profound injustice faced by his clients, including his own friends and mentors. Martin Ritt, a director himself affected by the blacklist, brings a deeply personal and nuanced perspective to "The Front." His masterful direction captures the suffocating atmosphere of suspicion and the quiet desperation of those ostracized for their beliefs. The film showcases Ritt's signature commitment to portraying the struggles of the common person against oppressive systems, highlighting themes of conscience, integrity, and the courage it takes to resist injustice, even at great personal cost. This powerful exploration of artistic freedom and political persecution, coupled with a compelling performance from Woody Allen as the conflicted Howard Prince, solidifies "The Front" as a quintessential Martin Ritt film and a vital piece of cinematic commentary.
"Conrack" (1974) plunges into the heart of the American South, introducing Pat Conroy, a young, white teacher tasked with educating a group of neglected children on a remote Sea Island off the coast of South Carolina. These resilient youngsters, hailing from impoverished Black families, live in a world starkly disconnected from the mainland, their knowledge of the outside limited by their isolation. Conroy, a man of idealistic fervor, finds himself confronting not just a lack of academic foundation but a profound cultural and societal gap, determined to ignite a spark of curiosity and opportunity in these often overlooked lives. This film is a quintessential Martin Ritt masterpiece, showcasing his signature ability to explore themes of social justice, individual conviction, and the complexities of human connection. Ritt masterfully crafts a narrative that is both poignant and powerful, highlighting the challenges of bridging divides and the transformative potential of education and empathy. "Conrack" exemplifies Ritt's knack for drawing out raw, authentic performances and his commitment to shedding light on underrepresented stories, making it a vital and enduring entry in his distinguished filmography.
"Edge of the City" (1957) plunges into the gritty realism of urban life, showcasing a compelling partnership forged in adversity. The film centers on Axel (John Cassavetes), an army deserter haunted by his past, who finds an unlikely ally in Tommy (Sidney Poitier), a proud and principled black dock worker. Their burgeoning friendship becomes a dangerous defiance as they stand united against the brutal machinations of a corrupt union official who seeks to exploit and control the working class. This raw and unflinching portrayal of racial tensions and economic exploitation was groundbreaking for its time. Martin Ritt's masterful direction in "Edge of the City" firmly establishes it as one of his finest works. Ritt possessed a remarkable ability to extract authentic performances and imbue his films with a profound sense of social conscience. Here, he uses the backdrop of the dockyards to explore themes of isolation, redemption, and the corrosive effects of power. The film's stark black-and-white cinematography and the palpable chemistry between Cassavetes and Poitier contribute to its enduring power. "Edge of the City" exemplifies Ritt's talent for crafting character-driven dramas that address societal injustices with courage and nuance, making it a quintessential piece of his impressive filmography.
"No Down Payment" (1957) plunges viewers into the idyllic yet fraught landscape of a burgeoning California subdivision, following the lives of four young couples who have just purchased their homes. Beneath the veneer of suburban aspiration, this film unflinchingly exposes the cracks in the American Dream, revealing the deep-seated issues plaguing these neighbors. From alcoholism and racism to rampant promiscuity, the story delves into the personal struggles and societal pressures that threaten to unravel their seemingly perfect lives. At its core, the film critiques the pervasive culture of overextension and debt, vividly illustrating how the alluring promise of "No Down Payment" can lead to economic precariousness and profound unhappiness. Tony Randall delivers a surprising performance as a charismatic, yet morally ambiguous, car salesman whose pursuit of pleasure mirrors the era's burgeoning consumerism and underlying anxieties. While "No Down Payment" might not immediately come to mind when discussing Martin Ritt's more overtly political or socially charged works, its inclusion on a list of his best films is deeply justified by its thematic resonance and Ritt's characteristic directorial touch. Ritt masterfully crafts a palpable sense of unease and disillusionment, using the seemingly pristine suburban setting to highlight the dark undercurrents of post-war American society. The film’s examination of societal hypocrisy, the limitations imposed by class and education (as seen with the discrimination against the war hero), and the moral compromises individuals make in pursuit of happiness and security are all hallmarks of Ritt's interest in the human condition. Even in this early work, Ritt demonstrates his ability to elicit raw, complex performances from his cast and to imbue his narratives with a profound, and often sobering, moral inquiry, making "No Down Payment" a significant and insightful entry in his directorial filmography.
"Murphy's Romance" (1985) is a heartwarming tale of unexpected love and second chances. Sally Field stars as Emma, a divorced mother with a teenage son, who relocates to a charming small town to establish a horse ranch. There, she encounters Murphy, the kind-hearted town druggist, portrayed by James Garner, who takes a paternal interest in her and subtly guides customers her way. Their budding, comfortable friendship takes an unexpected turn when Emma's ex-husband arrives, needing a roof over his head, which complicates the emerging dynamic between Emma, Murphy, and her son, who finds himself caught between his admiration for Murphy and a yearning for his father's return. This film is a perfect example of why Martin Ritt is celebrated for his masterful direction of character-driven dramas. Ritt possessed a remarkable ability to explore the complexities of human relationships with honesty and sensitivity, and "Murphy's Romance" is no exception. He expertly crafts a believable and affecting portrayal of adult romance and the anxieties of adolescence, allowing the quiet strength of his lead actors to shine. The film's gentle humor, genuine emotional depth, and focus on the everyday struggles and joys of its characters are hallmarks of Ritt's directorial style, making it a standout in his esteemed filmography.
"The Great White Hope" (1970) powerfully chronicles the life of Jack Jefferson, a black heavyweight boxing champion whose ascendancy ignites racial tensions in early 20th century America. As Jefferson and his white female companion, Ellie, strive for a life together, they face relentless opposition from a prejudiced society and a boxing establishment determined to keep him from reclaiming his title. The film unflinchingly depicts the ostracization and persecution they endure, highlighting the personal cost of defying deeply ingrained societal norms. This film is a standout in Martin Ritt's filmography, earning its place on a list of his best work due to its masterful blend of potent social commentary and compelling character drama. Ritt, known for his ability to explore themes of social injustice and the struggles of individuals against oppressive systems, imbues "The Great White Hope" with a raw authenticity. He grounds the narrative in the emotional complexities of Jefferson and Ellie's relationship, making their fight for dignity and survival resonate deeply. The film's unflinching examination of racism, coupled with James Earl Jones's iconic, Oscar-nominated performance, solidifies its status as a significant and impactful cinematic achievement that perfectly aligns with Ritt's directorial strengths.
"Cross Creek" (1983) offers a poignant portrait of a woman who, at the edge of survival, found a world of meaning. Set against the backdrop of the Great Depression, the film chronicles the experiences of Marjorie Kinnan Rawlings, a writer struggling to find her voice and adapt to the harsh realities of rural Florida. Through her interactions with the resilient and often unconventional inhabitants of Cross Creek, Marjorie discovers a deep connection to the land and its people, slowly shedding her anxieties and embracing a life of unexpected richness and purpose. This film belongs on any list of Martin Ritt's best movies for its masterful blend of character study and social commentary. Ritt, known for his ability to explore the human condition and the complexities of American life, imbues "Cross Creek" with a quiet intensity and profound empathy. He expertly captures the beauty and brutality of the natural world, mirroring Marjorie's own journey of self-discovery. The film's nuanced performances, particularly Mary Steenburgen's portrayal of Marjorie, and Ritt's signature humanist touch, create a deeply moving and enduring cinematic experience that showcases his talent for bringing compelling, often overlooked, stories to life.
**The Molly Maguires (1970)** plunges viewers into the brutal reality of 1870s Pennsylvania coal country, where life for immigrant Irish miners was a constant struggle against harsh conditions and exploitative company owners. Against this bleak backdrop, a clandestine organization known as the Molly Maguires emerges, a desperate response to the unyielding cruelty of the mining companies. Their methods escalate from sabotage to outright murder, a testament to their desperation. The narrative tension ratchets up with the introduction of a detective, himself an Irish emigrant, tasked with infiltrating this shadowy group and exposing its members. Yet, as he embeds himself within their ranks, the question lingers: where do his true allegiances lie? This powerful and often overlooked film is a prime example of director Martin Ritt's masterful storytelling and his dedication to exploring themes of social injustice and the plight of the working class. Ritt, known for his unflinching portrayals of societal struggles, imbues "The Molly Maguires" with a raw authenticity, capturing the desperation and the fight for survival that defined the era. The film showcases Ritt's knack for crafting complex characters grappling with moral ambiguities, particularly evident in the detective's internal conflict. Coupled with stellar performances and a gripping historical narrative, "The Molly Maguires" stands as a testament to Ritt's ability to create thought-provoking cinema that resonates deeply, solidifying its place among his best works.
Paris Blues (1961) offers a poignant exploration of artistic ambition and personal freedom through the lens of two American jazz musicians, Ram Bowen (Paul Newman) and Eddie Cook (Sidney Poitier), finding refuge and recognition in Paris. Unlike the pervasive racism and limited opportunities they faced in America, Paris provides a haven where their musical talents are celebrated, and racial barriers are non-existent. This liberating atmosphere fuels Ram's desire to pursue his passion for serious composition, while Eddie is drawn to the city's more tolerant racial climate. Their lives take a romantic turn when they encounter two American tourists, Lillian (Joanne Woodward) and Connie (Diahann Carroll), leading to a profound dilemma: should they return to America for love, or remain in Paris to safeguard their artistic and personal freedoms? Martin Ritt’s masterful direction elevates Paris Blues beyond a simple romance, positioning it as a significant entry in his filmography. Ritt consistently gravitated towards characters grappling with societal injustices and seeking personal liberation, themes powerfully embodied by Ram and Eddie. His ability to capture the soul of both the vibrant Parisian setting and the internal struggles of his protagonists is evident here. The film’s unflinching look at the contrasting realities of racial prejudice in America versus the liberating atmosphere of Paris, coupled with its nuanced portrayal of artistic compromise and the complexities of love, aligns perfectly with Ritt’s signature humanistic and socially conscious filmmaking. This makes Paris Blues a compelling example of his talent for delivering thought-provoking narratives anchored by strong performances and a deep understanding of the human condition.
**Nuts (1987)** plunges viewers into the turbulent world of Claudia Faye Jensen, a high-class call girl forced to defend herself with lethal force against a violent customer. The ensuing scandal threatens to destroy her life, and to protect their reputation, her affluent parents orchestrate a plan to have her declared mentally incompetent. Claudia, deeply distrustful of everyone around her, including her court-appointed attorney, Aaron Levinsky, finds herself in a desperate battle for her freedom and sanity within the confines of a courtroom. Her volatile and disruptive behavior during hearings only fuels the prosecution's case, painting her as unstable and unreliable, while Levinsky struggles to break through her defenses and build a coherent strategy. While Martin Ritt is renowned for his socially conscious dramas like "Hud" and "Norma Rae," *Nuts* showcases his ability to delve into complex character studies with a gritty realism. Ritt masterfully crafts a tense and claustrophobic atmosphere, highlighting the psychological toll of trauma and societal judgment. Barbra Streisand delivers a powerful, raw performance as Claudia, imbuing the character with a fierce vulnerability that is both captivating and heartbreaking. Ritt's direction allows for moments of intense emotional confrontation, particularly between Streisand and Richard Dreyfuss as Levinsky, exploring themes of mistrust, class disparity, and the desperate fight for agency in a system rigged against the marginalized. *Nuts*, though perhaps a darker and more commercially driven offering than some of his earlier works, still bears the hallmarks of Ritt's directorial skill in its unflinching examination of human resilience and the corrupting influence of secrets.
"5 Branded Women (1960)" is a compelling inclusion on any "Best Martin Ritt Movies" list, showcasing Ritt's burgeoning skill as a director who could tackle complex societal themes with gritty realism. While not as widely known as some of his later classics, this film demonstrates his early talent for crafting nuanced character studies and exploring the exploitation and resilience of women. Ritt deftly navigates the story of five attractive women who arrive in a small, male-dominated village, only to find themselves ostracized and judged. He uses the stark setting and the women's shared predicament to highlight themes of prejudice, ostracization, and the fight for dignity, all delivered with a characteristic Ritt intensity that belies the film's era. The film stands out in Ritt's filmography for its unflinching portrayal of social injustice and its focus on the internal struggles of its female protagonists. Ritt imbues "5 Branded Women" with a palpable sense of atmosphere and emotional weight, drawing strong performances from his cast to convey the women's isolation and their eventual defiance. This early work reveals Ritt's consistent commitment to social commentary and his ability to elicit powerful performances, laying the groundwork for the impactful and critically acclaimed films that would define his career. It's a testament to his directorial vision and his capacity to bring meaningful narratives to the screen, making it a valuable and often overlooked piece of his distinguished body of work.
In "The Black Orchid" (1958), Martin Ritt masterfully crafts a poignant tale of an aging widower, Sam Castanella, who finds unexpected love late in life. He falls for Rose Bianco, the widow of a notorious gangster, a decision that swiftly ignites the disapproval of his grown children who fear association with her past. This tender romance, set against the backdrop of burgeoning social tensions, explores themes of second chances, parental expectations, and the courage it takes to pursue happiness against ingrained prejudices. This film earns its place on a list of Martin Ritt's best works for its signature blend of character-driven drama and social commentary. Ritt, renowned for his ability to imbue his films with genuine human emotion and a keen eye for the struggles of the common person, perfectly captures the quiet dignity and internal conflict of his protagonist. "The Black Orchid" showcases Ritt's talent for eliciting powerful performances from his cast, particularly Sophia Loren and Anthony Quinn, and demonstrates his skill in weaving a compelling narrative that resonates with universal themes of love and belonging, even within the specific cultural context of its setting.
Stanley & Iris tells the story of Stanley (Robert De Niro), a gruff but kindhearted cook at a company cafeteria, who finds himself drawn to Iris (Jane Fonda), a newly widowed woman navigating her grief. Their budding connection takes an unexpected turn when Iris discovers Stanley's profound illiteracy. This revelation doesn't deter her; instead, it ignites a new purpose within her. After Stanley loses his job, Iris begins an intimate nightly ritual, teaching him to read in her own kitchen, a quiet testament to the transformative power of human connection and shared growth. Martin Ritt’s directorial touch imbues *Stanley & Iris* with the characteristic depth and sincerity that mark his best films. Ritt was a master at exploring the lives of ordinary Americans, often focusing on themes of resilience, class, and the quiet dignity of those often overlooked. In *Stanley & Iris*, he showcases his ability to craft poignant and understated narratives that resonate with emotional truth. The film’s exploration of learning, second chances, and the quiet courage found in everyday people aligns perfectly with Ritt's consistent thematic interests, making it a fitting addition to any list celebrating his impactful career.
Martin Ritt's adaptation of "Hemingway's Adventures of a Young Man" stands as a significant entry in his filmography, showcasing his directorial prowess in capturing the raw, formative experiences of Ernest Hemingway's alter ego, Nick Adams. Ritt, known for his socially conscious and character-driven dramas, imbues this sprawling narrative with a palpable sense of realism and emotional depth. The film navigates Nick's journey through love, war, and self-discovery with a subtle yet powerful hand, allowing the episodic nature of the story to unfold organically. Ritt's signature ability to draw compelling performances from his cast, particularly Richard Beymer as the introspective Nick, shines through, making this adaptation a nuanced and affecting portrayal of a young man grappling with the complexities of life and the search for meaning. The inclusion of "Hemingway's Adventures of a Young Man" on a list of Ritt's best work is well-deserved due to its thematic resonance with his broader oeuvre and his distinct directorial voice. Ritt consistently explored themes of alienation, disillusionment, and the struggle against societal pressures, all of which are central to Nick Adams's arc. He masterfully balances the epic scope of Nick's adventures, from the Michigan wilderness to the battlefields of Italy, with the intimate portrayal of his internal conflicts. The film’s visual storytelling, coupled with Ritt's keen eye for capturing the emotional landscape of his characters, solidifies its place as a testament to his skill in translating literary depth to the cinematic screen, making it a definitive Martin Ritt film.
"The Outrage" (1964) masterfully transposes Akira Kurosawa's iconic "Rashomon" narrative to the stark and dusty landscape of the American Southwest in the 1870s. The film opens at a desolate railroad station where three travelers recount the recent trial of the infamous Mexican outlaw, Carasco. This sets the stage for a compelling exploration of truth and perception as we are presented with four distinct, contradictory accounts of how Carasco allegedly murdered a wealthy Southerner and assaulted his wife. Each retelling offers a unique interpretation of guilt and innocence, leaving the audience to grapple with the elusive nature of objective reality. This film undeniably earns its place among Martin Ritt's best work due to his characteristic focus on moral ambiguity and the complexities of the human condition, often set against a backdrop of frontier or working-class America. Ritt's direction in "The Outrage" is as nuanced as the shifting perspectives it portrays, drawing out powerful performances from his ensemble cast, including Paul Newman, Laurence Harvey, and Claire Bloom. He skillfully navigates the cyclical nature of storytelling and unreliable narration, imbuing the Western genre with a psychological depth rarely seen, and exploring themes of honor, betrayal, and the subjectivity of justice that resonate deeply with Ritt's broader cinematic concerns.
"Pete 'n' Tillie" (1972) presents a poignant and ultimately devastating portrait of a marriage born from reluctant companionship. The film centers on Tillie Shlain, a thirty-three-year-old woman facing societal pressure to marry, who meets Pete Seltzer through a blind date. Pete, a charming but insecure man who uses humor and flirtation to mask his vulnerabilities, seems an unlikely match for the guarded Tillie. Yet, against all odds, they forge a connection, leading to a pragmatic marriage despite their contrasting personalities and approaches to life. However, their fundamental differences remain, and their relationship is put to the ultimate test when they must confront the tragic reality of their nine-year-old son Robbie's terminal cancer diagnosis. This film is a powerful testament to Martin Ritt's directorial skill, earning its place among his best works by showcasing his ability to delve into the complexities of human relationships with unflinching honesty. Ritt masterfully navigates the subtle nuances of Pete and Tillie's evolving dynamic, from initial awkwardness to a deeply felt, albeit flawed, love. The film's strength lies in its refusal to sugarcoat the challenges of marriage or the gut-wrenching pain of parental grief. Ritt allows the performances of its leads to shine, capturing both the humor and the profound sorrow inherent in their journey, making "Pete 'n' Tillie" a deeply affecting and unforgettable cinematic experience that highlights Ritt's consistent commitment to authentic and resonant storytelling.
"The Sound and the Fury" (1959) plunges into the heart of a crumbling Southern family, where deeply ingrained passions and unresolved resentments tear at the very fabric of their existence. This adaptation of William Faulkner's seminal novel masterfully depicts the Compson family's descent, showcasing their internal struggles, societal pressures, and the lingering ghosts of their past. The film captures the raw emotional intensity and the unique narrative voice that make Faulkner's work so powerful, making it a compelling study of memory, loss, and the enduring weight of legacy. Martin Ritt's direction of "The Sound and the Fury" earns its place on a list of his best work due to his signature ability to explore complex characters and the societal forces that shape them. Ritt brings a grounded realism to the often operatic prose of Faulkner, allowing the audience to connect with the characters' pain and their desperate attempts to navigate a world that is rapidly changing around them. His nuanced portrayal of the Compson siblings, particularly their individual struggles with the family's decline and their personal demons, showcases Ritt's talent for eliciting powerful performances and crafting films that are both intellectually stimulating and emotionally resonant.
Martin Ritt's "Casey's Shadow" stands as a compelling testament to his mastery of character-driven storytelling and his nuanced exploration of American life. While perhaps not as universally lauded as some of his more iconic works, this 1978 film showcases Ritt's consistent ability to elicit powerful performances and create deeply felt narratives. The film's focus on the complex relationship between a father, his son, and their shared passion for a beloved horse allows Ritt to delve into themes of ambition, disappointment, and the enduring, sometimes fraught, bonds of family. His direction lends an authentic and grounded feel to the world of horse racing, imbuing even the grandest moments with a palpable sense of reality. What truly solidifies "Casey's Shadow" as a worthy inclusion in a list of Ritt's best is its signature blend of emotional depth and understated social commentary. Ritt avoids melodrama, instead opting for a more realistic portrayal of struggle and resilience. John C. McGinley delivers a wonderfully layered performance as the trainer, and Walter Matthau, often known for his comedic turns, offers a more restrained and affecting portrayal of a man wrestling with past glories and future uncertainties. The film's quiet power, its authentic depiction of human imperfection, and its ultimately poignant message about the pursuit of dreams make it a quintessential Martin Ritt film, deserving of its place among his finest works.
"The Brotherhood" (1968) plunges into the heart of a powerful Mafia dynasty, following the eldest son of a formidable don who returns from Vietnam yearning for a life beyond the family's shadowy grip. However, the deep-seated traditions of his Sicilian heritage, coupled with a treacherous power struggle waged by his ambitious older brother, prove inescapable. As he navigates a labyrinth of family loyalties, betrayals, and the ever-present threat of violence, he finds himself inexorably pulled back into the very world he sought to escape. This compelling drama earns its place on a list of Martin Ritt's best for its masterful blend of personal drama and systemic critique. Ritt, known for his socially conscious filmmaking, expertly explores the suffocating nature of inherited destiny and the corrupting influence of power. Kirk Douglas delivers a nuanced performance as the conflicted protagonist, embodying the internal struggle against a world that demands conformity. Ritt’s signature realism, evident in the gritty portrayal of both family dynamics and the clandestine operations of organized crime, makes "The Brotherhood" a powerful examination of identity, loyalty, and the difficult choices individuals face when caught between personal aspirations and familial obligations.
Martin Ritt's "Back Roads" (1981) earns its place on any "Best of" list for its raw, unflinching portrayal of two disparate individuals forging an unlikely connection amidst the American landscape. The film masterfully navigates the complexities of human relationships, showcasing Ritt's signature ability to delve into the emotional undercurrents of his characters. Sally Field and Tommy Lee Jones deliver magnetic performances as two lost souls on a journey of self-discovery, their chemistry simmering with a palpable authenticity that makes their shared experiences resonate deeply. Ritt uses the open road as a canvas for introspection, allowing the vastness of the country to mirror the internal landscapes of his protagonists as they confront their pasts and tentatively embrace a shared future. Beyond the compelling performances and thematic depth, "Back Roads" exemplifies Ritt's directorial skill in capturing the nuances of everyday life and elevating them to something profound. He expertly balances moments of tender vulnerability with sharp, observational humor, creating a film that feels both specific and universally relatable. The film's journey, much like Ritt's career, is one that prioritizes character development and emotional truth over flashy spectacle. It stands as a testament to his commitment to exploring the human condition with honesty and compassion, making "Back Roads" a vital and unforgettable entry in his esteemed filmography.
Submit to make your rating count.