3:10 to Yuma 4K 1957 Ultra HD 2160p

Story Movie

Notorious robber Ben Wade and his gang attack a stagecoach carrying gold. After seizing their loot, Wade orders his men to cross the border one by one. The gang disperses, but Wade himself is detained in the city, where he is arrested. Wade must be transported to a safer location immediately. Ordinary farmer Dan Evans is called upon to take him to the train leaving for Yuma at 3:10. He has a few hours before the gang reassembles and tries to rescue their leader.

Review 4K Movie

What makes a classic western? The usual characters: a fearless hero (the sheriff), a vicious and bloodthirsty villain, and fatal beauties (mostly from the saloon). Plus, the inevitable shootout at the end (or a duel with shooting “from the hip”). This is not quite the case in 3:10 to Yuma: there is almost no shooting, the duels are verbal, and the main bandit (Cliff Ford) exudes the charm of a good-natured man and a heartthrob. And the unexpected denouement will surprise the viewer (let's not talk about plausibility now); it seems that the muses of the genre could not stay away from such a dramatic mess.

E. Leonard wrote his story, which became the basis for the plot, in 1953, a year after the release of the legendary film High Noon. In an interview shortly before his death (in 2013), the author said that he no longer remembered what inspired him, but we cannot escape the parallels. The hero of High Noon was a professional in his work (George Cooper), loyal to his sense of duty and hurt by the cowardice of the townspeople. Here, the burden of honor falls on an ordinary cowboy (W. Heflin) with clear everyday motivations: the need for money to water his cattle and the need to prove his manhood to his family. Our cowboy achieves both goals even before the whistle blows, but in a seemingly inexplicable way, he decides to go all the way — that is, to certain death. "The town drunk gave his life because he believed that people should live with dignity and in peace. How do you think I can do less?!" Oh, how damn good Westerns are at demonstrating the problem of existential choice!

Finally, the women. As in High Noon, there are two of them, and both, despite their modest screen time, are extraordinary. The cowboy's wife (L. Dana) embodies all the wisdom of life with her unfulfilled expectations and ideals that have not been lost to the end. The melancholically beautiful barmaid (F. Farr) is responsible for the wonderful (and almost unthinkable for 1957) episode of seduction by the antihero. It may be a very brief but lyrical romance: two lonely souls meet... and then what? Separation, prison, the open road? The paths of great westerns are inscrutable...